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Should we eat all our school lunch?
Have you ever thought about how much food students waste at school? This causes environmental problems and wastes school money. But wouldn't students waste less food if school meals were more delicious? So, we need to take only as much food as we can eat. Let's take only the food we can eat, and protect our planet!
- 정하엘 기자
- 2026-08-09 16:10
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Action and Collaboration: Our School's Future
Imagine having a project-based learning program every year at school. Project-based learning is a program where you have no tests, but learn by doing. In the future, our school should have project-based learning. It is good because it helps students reduce stress. For example, in Chuncheon, many students feel a lot of stress because of written tests and study late into the night. We should try to create happy classrooms without test stress for a better future.
- 장예진 기자
- 2026-08-09 15:58
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Gyeonggi Provincial Superintendent of Education Ahn Min-seok: “'Phone-Free Schools' are about creating a school culture for students’ learning and growth.”
The Gyeonggi Provincial Office of Education is forming a 'Phone Free School Promotion Team' to ensure the successful implementation and expansion of 'Phone Free School,' the first policy of the Gyeonggi Education Transformation, in schools, and is launching full-scale support. On the 13th, the Provincial Office of Education held the first plenary meeting of the 'Phone-Free School Promotion Team' at the Jowon Office Building to discuss the direction of implementation and plans for operating policy briefing sessions. The meeting was attended by 13 members of the promotion team, including Superintendent An Min-seok, school staff, education professionals, parents, and members of the transition committee. 'Phone-Free School' is a policy designed to foster a school culture where students can focus on learning and forming relationships away from smartphone use during school activities, and to cultivate self-regulation skills and restore the educational capacity of schools. To this end, the task force focuses on establishing support plans, developing operational models for each school level, preparing standard operational guidelines, providing teacher training, identifying and sharing best practices, and promoting the initiative to the educational community and building consensus. In particular, the standard operation guide will be developed considering school conditions and students' developmental stages, and is expected to include measures for student self-governance participation, communication procedures with parents, examples of alternative programs for educational activities, and methods for storing and managing smartphones. In addition, in conjunction with the 'RAS Gyeonggi Arts and Culture Education,' support is provided to enable students to fill the time saved by reducing smartphone usage with educational activities centered on reading, arts, and sports. Meanwhile, with the introduction of new regulations in the 'Elementary and Secondary Education Act' restricting the use of smart devices, such as mobile phones, during class starting from the first semester of 2026, schools are now able to establish regulations in their school rules restricting the use and possession of smart devices to protect students' right to learn and teachers' educational activities. At the meeting that day, Superintendent An Min-seok emphasized, “The goal is not the Phone Free School itself, but the core objective of the policy is for students to put down their mobile phones and engage in RAS educational activities through breaking down walls,” adding, “Phone Free School, RAS, and breaking walls are a trinity and one body.” He continued, “We will create an organizational structure that combines the three policies into one to ensure their continuous implementation,” adding, “We will actively support this system so that it operates organically within the Office of Education’s public organization.” Starting with this general meeting of the task force, the Provincial Office of Education plans to support the stable establishment of the 'Phone-Free School' policy in schools by implementing policy briefings, gathering feedback from the field, and sharing operational examples in stages. [News Source: Gyeonggi Provincial Office of Education]
- 대한민국교육신문 기자
- 2026-07-20 23:45
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106 Participants of 'Gyeonggi Youth Ladder' Begin Overseas Training
Youths participating in the '2026 Gyeonggi Youth Ladder' departed for British Columbia, Canada on the 19th to begin their overseas training. The 'Gyeonggi Youth Ladder' is an overseas training program that provides economically vulnerable youth with opportunities to experience foreign cultures and supports their career exploration and self-directed growth. It is operated by Gyeonggi Province and the Gyeonggi Institute for Lifelong Education with support from the Lottery Fund to strengthen the global capabilities of youth and bridge the educational gap. This year, 106 youths selected through a competition rate of 3.3 to 1 will participate in a training program in Canada for about three weeks from July 19 to August 6. During weekdays, they will participate in various educational programs centered around the campuses of the University of British Columbia and Simon Fraser University, including English classes, sports activities, practical English assignments, and team projects, while on weekends, they plan to extensively experience local culture through cultural tours and visits to local attractions. Hong Seong-deok, Director of the Gyeonggi Provincial Lifelong Education Division, said, “I hope this serves as a valuable opportunity for youth to discover their own potential and grow to the next level in a new environment,” adding, “Above all, I hope they complete the training in good health with safety as their top priority and return with diverse experiences and learning.” [News Source: Gyeonggi-do]
- 관리자 기자
- 2026-07-20 23:41
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National Reading New Wave Movement Hosts the 25th Korea Reading Discussion Festival
The '25th Korea Reading Debate Festival,' a representative domestic reading education festival created by students, teachers, and parents from all over the country, will be held at Gangneung Elementary School and Catholic Kwandong University from July 17 to 18, 2026. This event, co-hosted by the National Reading New Wave Movement and Gangneung City, is sponsored by the Ministry of Education, the Ministry of Culture, Sports and Tourism, the National Assembly of the Republic of Korea, and 17 city and provincial education offices nationwide, and is Korea's representative reading, debate, and essay competition marking its 25th anniversary this year. This year's competition is being held under the theme of "Empathy that Opens Hearts, Communication that Connects the World." The organizers have focused on cultivating democratic citizenship competencies that involve understanding the lives of others through reading and communicating healthily through discussion. Furthermore, the program aims to establish a reading culture across all life stages through "Reading Connection Education," which extends from kindergarten through elementary, middle, and high school to university and the general public. This competition is open to students nationwide, out-of-school youth, and Korean students living overseas, and is operated in a total of seven categories: kindergarten, lower elementary, upper elementary, middle school, high school, and university/general. In particular, this year's finals are structured as a reading festival that practices empathy and communication, going beyond mere competition. On the first day, the "Sprouting the Seeds of Empathy" program will be conducted for kindergarteners and first and second-grade elementary students, utilizing picture books and narrative discussions. Through picture book reading and conversation-centered activities, young participants will experience naturally expressing their thoughts and communicating with their friends. On the evening of the same day, the final tournament of the team competition will be held, featuring representative teams from elementary, middle, and high schools. Participating schools will engage in discussions centered on "effective practical measures for community restoration through empathy and communication," while the elementary division will discuss communication methods in future society under the theme that "communication utilizing AI enhances human empathy." On the second day, the semifinals and finals of the elementary, middle, and high school team competitions will be held, along with a 'Family Reading Discussion Festival' where parents and children can participate together. The Family Reading Discussion Festival is a special program designed to enhance empathy through intergenerational dialogue and to spread a healthy family reading culture. The 'Declaration Ceremony for Reading Connection Education' will be held at the opening ceremony on this day. Reading education stakeholders from across the country are scheduled to jointly declare a future vision for reading education, embodying the aim of establishing an educational ecosystem where individuals grow through reading from kindergarten through elementary, middle, and high school to adulthood. The individual finals will be held in the afternoon. Participating students engage in reading discussions and essay writing, and are evaluated on their ability to logically express thoughts gained from books and listen to the opinions of others. The approach of combining reading discussions and essay writing is designed to comprehensively cultivate critical thinking skills, communication competencies, and problem-solving abilities. The books selected for this year are also drawing attention. Discussions will center on *Mission: Save Generation Alpha* and *The Altruist Manifesto* for the elementary school division; *The Giraffe Outside the Window* and *Yes, I Am Autistic, and I Am a Comedian* for the middle school division; *Adding a Perfect Friend* and *The Usefulness of Reading* for the high school division; and *Special Children Who Know a Little About Jeong Yak-yong* and *The World You Want to See* for the university and general public divisions. Participants will explore diverse social and humanities topics, broadening their perspectives on the world through books. An official from the National Reading New Wave Movement stated, “Reading is not merely an activity for acquiring knowledge, but the most powerful educational practice for understanding one another and restoring the community,” adding, “We hope that the 25th Korea Reading Debate Festival will become a new turning point in the development of Korea’s reading culture.” With a history spanning 25 years, the Korea Reading and Debate Festival has conveyed the joy of reading and the value of debate to countless students. As the nation's largest reading education festival designed to foster the empathy and communication skills necessary for future generations living in the AI era, this year's event is also expected to become a new milestone in the spread of reading culture. [Competition Announcement] Registration for the 25th Korea Reading and Discussion Festival ■ Event Name: The 25th Korea Reading and Discussion Festival ■ Preliminary Round Schedule: May 1, 2026 (Fri) – June 6, 2026 (Sat) ■ Finals Schedule: July 17 (Fri) – 18 (Sat), 2026 ■ Finals Venue: Gangneung Elementary School, Catholic Kwandong University ■ Eligibility Kindergarten (ages 5-7) Elementary school grades 1-2 Elementary school grades 3-4 Elementary school grades 5-6 middle school student high school student University/General Division Including out-of-school youth and Korean students residing overseas■ How to Participate ▶ Preliminary Round Submission of book discussion sheet Application for individual and team competitions▶ Main Round Happy Reading Discussion (Individual/Group) Assignment-based reading and writing Story-based book discussion Operation of Family Reading Discussion Events, etc.■ Major Programs Inter-school Reading Debate Team Competition Solo Exhibition Book Discussion Solo Exhibition Reading and Writing University & General Division Reading Discussion Festival Family Reading Discussion Event Proclamation Ceremony of Reading Connection Education "Sprouting the Seeds of Empathy" Special Program for Kindergarten and Lower Elementary Students■ Tuition Fee No participation fee (no merchandise sales) ■ Application Methods: Online and Mail Applications ■ Registration: Korea Reading Website ■ Inquiries National Reading New Wave Association ☎ 02-541-9960 ☎ 070-4226-0244
- 관리자 기자
- 2026-06-07 22:39
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Mokpo National University and Jeonnam Provincial University Launch Merger… First Step Toward Innovation in Jeonnam Higher Education
Launch ceremony on the 27th… Establishment of Korea's first multi-tiered bachelor's degree system consisting of 2- and 4-year programs ▲ Launch Ceremony of the Integrated Mokpo National University (Mokpo National University - Jeonnam Provincial University) [Korea Education Newspaper] The integrated National Mokpo University, formed by the merger of Mokpo National University and Jeonnam Provincial University, held an inauguration ceremony on the 27th and took a new first step toward innovation in higher education in Jeonnam. Jeollanam-do announced on the afternoon of the 27th that the 'Inauguration Ceremony of the Integrated Mokpo National University' was held at the Cheonggang Academy Hall of the Mokpo National University 70th Anniversary Memorial Hall. The launch ceremony was an occasion to officially announce the new beginning of Mokpo National University and Jeonnam Provincial University as a single university system, and to share a new vision for innovation in higher education in Jeonnam and the nurturing of local talent. Distinguished guests, including Minister of Education Choi Kyo-jin, Jeonnam Provincial Administrative Vice Governor Hwang Ki-yeon, Mokpo National University President Song Ha-cheol, local political figures, university and industry officials, and university members, attended the launch ceremony to celebrate the establishment of the integrated university. The integration is significant not only as a simple organizational merger between universities but also as an innovation model for higher education in Jeonnam aimed at addressing the decline in the school-age population, the outflow of youth, and changes in the industrial structure. In particular, Mokpo National University established the nation's first educational model of operating both a two-year associate degree program and a four-year bachelor's degree program within a single university. Through this, it has completed a full-cycle workforce training system that systematically fosters everything from practical professionals needed for key regional industries to high-level talents who will lead global research and development (R&D). In addition, taking advantage of the integration, a vision was presented to specialize a total of seven campuses, including the Damyang and Jangheung campuses, lead the realization of a decarbonized society and AI-based innovative education, and leap forward as a prestigious global university specializing in marine science. In his congratulatory remarks, Vice Governor Hwang Ki-yeon stated, “This merger goes beyond a simple physical combination of two universities and marks an important milestone in turning the crisis of regional decline into an opportunity,” adding, “When Mokpo National University’s research capabilities are combined with Jeonnam Provincial University’s field-oriented educational capabilities, Jeonnam will establish a much more robust higher education ecosystem.” He added, “The region thrives only when the university thrives, and the university can take a leap forward only when the region grows,” stating, “We will continue to provide support at the Jeonnam Provincial level to ensure the integrated university establishes itself as a key hub for regional industries and talent cultivation.” [News Source: Jeollanam-do] [대한민국영어신문]
- 관리자 기자
- 2026-05-28 00:01
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Actress Kim Chae-yeon, a Multi-talented Player Attracting Off-Broadway’s Attention – Kim Chae-yeon’s Declaration of a ‘Proactive Artist’ as She Rises Beyond Acting to Become a Producer
[Starting] In New York, the heart of the world's art scene and a fierce concrete jungle, there is an Asian woman walking the cold streets of Soho. Carrying a heavy script bag, she faces waves of endless auditions and rejections with her whole body, yet her gaze is sharper and more resolute than any light in the jungle. This is the story of rookie actress Kim Chae-yeon, who garnered attention as the only Korean to be admitted to the acting department at Pace University in the U.S., and who landed a leading role on an Off-Broadway stage immediately upon graduation. Her career is like an interesting variation. A girl who had majored in classical piano for over a decade within the strict rules of musical scores was captivated by a musical stage she stumbled upon during high school, completely changing the track of her life. She put down the keyboard and began to recite monologues, making "herself" the only instrument in the world. However, she did not remain a foreign actor passively waiting for someone to choose her. When faced with local barriers against Asian artists, instead of becoming discouraged, she volunteered to become a "planner," taking the microphone herself and setting the stage. A multi-talented artist boldly expanding her territory across the stage, screen, and planning realms while traveling between New York and Los Angeles. We took a look into the deep and passionate artistic world of actress Kim Chae-yeon, who creates her own door and walks through it rather than waiting for a miracle. [Editor's Note] ■ Actress and Artist Kim Chae-yeon ○ Personal Profile Name: Chae Yeon Kim Activity Base: New York (NY) and Los Angeles (LA), USA Affiliated Crew: SyncStage Productions Co-planning and AAPI Artist Network Crew ○ Education Graduated from the Acting Department at Pace University, USA At the time, I was admitted as the only Korean successful candidate in the Department of Theater and Film. ○ Special Skills & Background Classical Piano (Majored for over 10 years): Strong in performing roles in musical plays and musicals based on musical sensibility and technique. Writing columns and essays: Currently serializing 'Actress Kim Chae-yeon's New York Story' in local media (News Korea). ○ Major Acting Career (Acting Credits) 1. Stage (Theater & Musical) Off-Broadway Musical *Blue Blind* – Lead role of 'Sia' Musical *Miss Saigon* – Role of 'Yvette' (The only Korean actor in the Suncoast Broadway Theatre production) Device Musical 《Nine Shadows in Bloom》 – Role of Pianist 'Lou' Off-Broadway play *Five Times in One Night* – Role of 'Eve' New York 54 Below Cabaret Production – Participated as a performer in *What's Been Said Before*, *The Golden Project*, etc. 2. Screen (Film) Short film *Bra Top* – Lead role (Winner and official screening at the Berlin Indie Film Festival, Brussels International Film Festival, etc.) Independent film *The Bread and Wine* – Lead role Independent film *The Clementine* – Lead role ○ Planning and Production Experience (Creative Production) Co-planning and overall management of the 《AAPI Playlist Volume 1》 Cabaret Series Planning performances highlighting Asian creators and artists (such as Lee Hae-chan of the musical 'Hadestown' and Shin Joo-won of the 'Squid Game' OST) and achieving near-sold-out records ▲ Actress Kim Chae-yeon [Part 1. The Beginning and Challenges of an Actor] Q1. You majored in classical piano in Korea for over 10 years before discovering musicals in high school and changing your career path to acting. I am curious to know what the decisive moment or work was that changed your life at that time. A1. "My life as a child revolved entirely around the keyboard. Sitting at the piano for five or six hours every day to perfectly reproduce the notes written on the score without the slightest error was my duty and my entire life. I had pursued classical music under very strict and disciplined rules, but a musical stage I happened to see during my high school years completely shook my emotional world." I remember it clearly. The actors on stage went beyond perfect rules, pouring out raw, unrefined, and overwhelming emotions directly into the audience using their entire bodies and voices. When I saw the audience crying and laughing along with the actors in the theater air, exchanging massive energy in real time, my heart began to pound wildly. An intense desire welled up inside me: "Ah, I want to tell stories directly to people, using my very existence as an instrument, rather than going through the medium of a musical instrument." The sense of liberation and excitement I felt on my way home that day ultimately became the decisive turning point that completely changed the trajectory of my life. Q2. You were admitted to the acting department at Pace University in the U.S., which has produced hot actors such as Christopher Briney and Cooper Koch, as the 'only Korean admitted student' at the time. What was the driving force that enabled you to endure the fierce entrance exams and college life in an unfamiliar land? A2. "The joy of receiving the acceptance letter was short-lived. From the very first day I entered the classroom, a massive concrete wall of language and culture stood before me. Looking around, everyone except me was a native speaker born and raised locally, reciting Shakespearean monologues in their mother tongue. For me, every day was a struggle for survival, even just to quickly interpret the text and grasp the nuances during class." The driving force that kept me going was solely 'fierce stubbornness' and 'focus on the essence.' I held the belief that, 'even if my language skills are less refined than theirs, the essence of human emotions such as lack, wounds, and love is no different anywhere in the world.' While others read the script once, I read it five or ten times, analyzing the subtext hidden behind the words. I built a solid core within myself by being the last to turn off the lights in the rehearsal room every day. The greatest strength that sustained me was the belief that 'my unique background and sensibilities would become my own weapon here that no one else could imitate.' Q3. You immediately took on the role of 'Sia' in the Off-Broadway musical 'Blue Blind'. You had to portray the deep emotional arc of a character who sacrifices for her father right from your debut; I am curious if you still remember the atmosphere and sensations from your first time on stage. A3. "I probably will never forget the atmosphere of that day. It was the dream stage of Off-Broadway, and right after graduation, I was waiting backstage as the lead, 'Sia.' My heart was pounding as if it were echoing throughout the entire theater. The tension reached its peak, to the point where my fingertips grew cold." However, the moment the cue signal dropped and the stage lights came on, the surrounding noise and tension vanished in an instant, like a vacuum, almost unbelievably. Only the cold reality and atmosphere that 'Sia' faced within the play remained. When I delivered my lines expressing the heavy emotions of deep affection and sacrifice toward my father, I could feel the audience in the dark auditorium holding their breath and following my breathing. The moment the applause erupted during the curtain call after the performance, I got goosebumps all over my body; it was my first experience of learning with my whole being that an actor is someone who must speak the 'truth,' not lies, on stage, and that it is a weighty position entrusted with the responsibility of the audience's time. [Part 2. Roles on Stage and Screen] Q4. You played the role of Yvette as the only Korean actor in the production of 'Miss Saigon' at the Suncoast Broadway Theatre. What was the most significant cultural or artistic lesson you learned while working alongside local Broadway veteran actors? A4. "Even amidst long-running performances repeated dozens or hundreds of times, the actors there acted with such vivid life and passion in every moment, as if they were receiving the script for the very first time. I was truly struck by their artistic impact as I witnessed their rigorous self-management and professionalism, as they maintained perfect freshness on stage every day without falling into mannerisms." Another thing I learned was the 'confidence' in how I treated myself. At first, I unconsciously felt intimidated by the thought that I was the only Korean. However, my local colleagues did not view me based on my race; instead, they fully respected me as an attractive fellow actor possessing a delicate and unique energy that they themselves lacked. I painfully realized that the stage is ultimately the most equal world, breaking down all barriers of nationality, skin color, and language, where communication takes place solely through the talent and genuine energy an actor exudes. Q5. In the play 'Nine Shadows in Bloom,' you played the role of 'Lou,' a pianist who pursues perfection. How did your personal experience of majoring in piano for a long time influence your nuanced interpretation of this role? A5. "As soon as I read the script, I felt a lump in my throat, thinking, 'This is just my story.' The character embodied the intense loneliness and wandering of my own adolescence. I already remembered the psychological deficiencies that 'Lu' feels—the pressure not to miss a single note, the indescribable loneliness felt backstage, and the self-destructive frustration when failing to be perfect—not just as a theory, but with every cell of my body." Thanks to this, I was able to go beyond simply ‘pretending’ to play the piano well or acting on stage; instead, I could densely infuse the genuine deficiencies and aspirations of my own life into every subtle tremor of ‘Lu’s’ hands as she caressed the keys and every sharp gaze fixed on the sheet music. It was a truly magical and grateful experience, where the time I spent crying and laughing in front of the piano in the past ultimately returned as the most powerful and beautiful weapon on this new path of an actor. Q6. You garnered global attention, including at the Berlin Indie Film Festival, for your short film 'Bra Top'. You realistically portrayed the role of an immature Gen Z daughter; I am curious to know what specific charms stage acting and film acting in front of the camera hold for you, Chaeyeon. A6. "The appeal of the two mediums is truly polar opposites, so it is always thrilling. First, stage acting is like a 'marathon' that runs without stopping. There is a massive catharsis in breathing the same time and space as the audience, and completing the narrative from the beginning to the end while the actor controls their own energy and takes responsibility." On the other hand, film acting feels like a 'microscopic art,' where the camera lens captures even the slightest tremor in the eyes, the movement of the lips, and changes in the sound of breathing like a microscope. That is why film requires 'raw acting that strips away energy' rather than exaggeration. When filming *Bra Top*, I completely erased the formalized breathing I use on stage and brought out my childish side and natural way of speaking from my actual daily life, acting as if I were playing push and pull with the camera at every moment. It was a project where I was deeply captivated by the charm of expressing very delicate truths within the frame. Q7. You have been consistently active in the independent film scene as well, taking on leading roles in films such as 'The Bread and Wine' and 'The Clementine'. When choosing roles on screen, are there any criteria you consider most important, or are there specific characteristics of characters that appeal to you? A7. "I am much more drawn to characters who have some human flaws or contradictory inner selves, rather than those who are perfect and smooth. Characters who appear cold and confident on the outside but are weak on the inside, as if they would crumble at the slightest shock, or characters who seem carefree and cheerful but are hiding deep, inescapable wounds within." When I read the scripts for such characters, my heart sinks first, and a strange sense of responsibility arises, thinking, "I am probably the only person in this world who can truly understand this character's pain." When I feel a resonance that "I must embody this person's soul and speak on their hidden, true stories to the world," I choose the project without hesitation. I want to create multi-dimensional characters that allow the audience to feel, "That character is just like me," when watching my performance. [Part 3. A Planner's Perspective, AAPI] Q8. You went beyond simply being an actor and co-planned the 'AAPI Playlist Volume 1' cabaret series with SyncStage Productions. What motivated you to decide to 'personally' create a stage that highlights Asian creators and artists? A8. "While fiercely auditioning in the U.S., I faced a painful reality. The fact was that the roles offered to Asian actors on Broadway or in Hollywood were still confined to stereotypical images or were far too limited in quantity. Looking around, I saw Asian colleagues with tremendous talent and unique artistic visions letting their abilities go to waste simply because they lacked opportunities." A thought suddenly crossed my mind. A healthy sense of rebellion arose within me: 'Why must we just passively wait for a major production to choose us or for a casting director to call us? Our stories are so colorful and rich!' Rather than sitting and waiting for a miracle to happen, I solidified my resolve to set the stage ourselves, grab the microphone, and let the world hear our voices. Together with like-minded colleagues, we began planning as if we were starting from scratch. Q9. During the 'AAPI Playlist' performance, prominent Korean artists such as Shin Ju-won from the 'Squid Game' OST and Lee Hae-chan from the Broadway production of 'Hadestown' came together, achieving near-sold-out success. As a planner, I would like to know how you felt after the curtain fell, and what kind of story you would like to tell in Volume 2. A9. "On the day of the performance, when I saw the audience filling the theater lobby and heard the cheers erupt as the lights went out, my heart swelled with emotion and I almost burst into tears. It was the moment we proudly proved to the world that our thirst and vision were not wrong. It is a miracle that we never could have achieved without our wonderful fellow artists who, despite their busy schedules, deeply resonated with our purpose and willingly graced the stage." In the upcoming Volume 2, I want to go beyond simply declaring the identity that "we are Asians" and delve a step deeper. I wish to deliver greater comfort to the audience by weaving together the universal loneliness and frustration felt while living as a young artist and outsider in the vast jungle of the glamorous city of New York—and the brilliant "narrative of growth" of overcoming them—in a multi-dimensional way, like a musical, accompanied by original compositions. Q10. Living as an 'Asian female artist' in the local U.S. art scene can come with limitations on opportunities. Chaeyeon, you demonstrate the qualities of a "proactive artist who creates her own opportunities" rather than waiting for a miracle. What do the Korean and Asian crews you stand in solidarity with locally mean to you? A10. "To me, they are the 'Home' and the safest 'sanctuary' that allow me to breathe in the fierce and cold concrete jungle of New York. They are people who perfectly understand each other just by looking into each other's eyes, without the need to go out of my way to explain the unspeakable loneliness, sorrow, and wounds of rejection I feel while living as an Asian artist abroad. However, our crew does not stop at merely pitying and comforting one another. Rather, when we gather, we pour out artistic ideas all night long, help each other with script readings, and propose new projects, becoming the most powerful allies and level-headed partners who awaken each other's inspiration. Thanks to this healthy solidarity, I gain the unwavering courage to keep moving forward without losing my center, even amidst waves of rejection. [Part 4. Daily Life in New York and Future Vision] Q11. You regularly serialize an essay titled 'Actress Kim Chae-yeon's New York Story' through the media. How does the city of New York, where glamour and tension coexist—from auditions on SoHo streets to attending New York Fashion Week (NYFW)—inspire your artistic world? A11. "New York is a city that is like a massive convenience drama in itself, never letting you have a single dull moment. It is a place where extreme energies coexist so nonchalantly, from musicians playing jazz like possessed spirits in the corners of grimy subway stations to fashion shows at Fashion Week that reach the pinnacle of glamour." Walking the streets of SoHo with a heavy script bag on my shoulder, every single gait, expression, and gaze of the countless people I encounter serves as a living acting textbook and a source of inspiration for me. Even when I am discouraged by cold rejections after countless auditions, seeing people on the street steadfastly pursuing their own unique art immediately reignites a burning spark within me. It is a city that acts like a grateful yet formidable mentor, constantly pushing me to the limit and keeping me awake every moment so I do not become complacent. Q12. Recently, you have expanded your scope of activity to LA through commercial shoots and other ventures. Did you notice any refreshing differences between the artistic atmosphere centered around New York's theater district and the entertainment environment of LA? A12. "It was very interesting to see how the atmosphere surrounding art was completely different, given that these two cities represent the East and West Coasts of the United States. If New York is the mecca of classical theater art, imbued with long history, tradition, the scent of hard work, and weighty texts, I got a strong impression that LA is a massive media city overflowing with endless possibilities, trendiness, and popular star power." In New York, I focused on introspective work, holed up in a room to delve into the psychology of the characters in the script like a microscope; in LA, however, I learned an extroverted way of showing my quick wit and unhesitatingly revealing my unique charm and star power in front of the camera lens. Experiencing these two polar opposite environments broadened my spectrum of expression as an actor and allowed me to develop solid adaptability, enabling me to handle any situation flexibly. Q13. I imagine there must be moments when you get exhausted or hit a slump while juggling auditions and planning work away from home. Please share any special routines you have for managing your mental health or relieving stress. A13. "When my mind is overloaded with complicated thoughts or my self-esteem drops due to a series of rejections, I engage in very analog and physical activities to completely switch off my thoughts. I go to the gym and work out until I sweat profusely, or I enter a soundproof studio, grab drumsticks without thinking, and play the drums intensely. As I surrender my body to the instinctive rhythm and the sensation of the impact while screaming, the negative distracting thoughts that were tormenting my mind miraculously wash away." And when my mind calms down a bit, I leave the bustling streets behind and sit at my quiet favorite café to drink a warm, fragrant cup of coffee. As I organize my thoughts on a blank page and write an essay, I rediscover the pure initial resolve that led me to start walking the path of an actor in this distant foreign land. Intense drumming and quiet writing—these two are my ultimate secret base that protects me. Q14. Is there a dream stage (or role) that you would really like to challenge yourself with in the future? Please tell me if there is a role you covet in a Broadway musical or a Hollywood production. A14. "My ultimate dream as an actor is to stand tall as a leading role on the Broadway stage, like in the musicals 'Hamilton' or 'Hadestown,' where I completely break down barriers of race and identity and dominate and lead the entire play solely through pure human energy and skill." At the same time, I also want to serve as a solid bridge to widely promote the power of Korean storytelling—that is, K-content—which the whole world is currently paying attention to, to the global market. I want to take on roles with highly three-dimensional and multifaceted narratives in well-made productions on global OTT platforms like Netflix or Apple TV, breaking the stereotypes of Asian female characters, and deeply engrave the name "Actress Kim Chae-yeon" in the minds of audiences worldwide. Q15. Please share a warm word of encouragement with the many young artists and juniors who are currently working hard, dreaming of a future where they will be active in the U.S., Korea, or on the global stage. A15. "I hope you do not confine yourself within the frame of being a lonely 'stranger' or a 'weakling' in a foreign land. Our different cultural backgrounds, emotions, and linguistic textures are by no means weaknesses; rather, they are our most unique weapons and originality that no one else in the world can easily imitate." If the door the world has made is closed, knock until it opens; and if it does not open no matter how hard you knock, instead of becoming discouraged, we can simply create a new door of our own. For opportunity belongs not to those who wait, but to those who create it. I am confident that if you tirelessly and silently hone your art, a great stage just for you will surely open. I, too, will run with all my might to prove myself without stopping in the fierce jungle of New York, serving as a good milestone and a reliable example for my juniors. Let us never get tired, become each other's allies, and meet on stage. I am rooting for you. Thank you! [Epilogue] Throughout the interview, which lasted well over two hours, the words he mentioned most frequently were 'essence' and 'originality.' What kept him from being intimidated, whether among the fierce Broadway veterans of New York or on the film sets in LA where countless cameras were rolling, was ultimately his tenacity as an actor to truthfully convey his own story. Kim Chae-yeon, who washes away distracting thoughts by entering a soundproof studio and playing the drums roughly whenever her mind becomes cluttered, and writes essays while sitting in a quiet cafe smelling the aroma of coffee. Just as vast as the spectrum between intense drum beats and serene writing, her inner self had already become a solid vessel capable of flexibly holding any role. "I hope you don't get trapped in the frame of being an outsider. Our differences are not weaknesses, but originality." These final words spoken to her junior artists may actually have been a mantra she had been reciting to herself every morning while looking in the mirror in New York. The journey of this bold actress—who vowed to knock until the door opens if it is closed, and to create a new door of our own if it still does not—has only just begun. With excitement, we look forward to her brilliant second act in the not-too-distant future, where she will be smiling brightly and radiating the most unique energy right in the heart of Broadway and Hollywood. [Editor's Note] [Reporter Choi Young-min, Korea Arts Newspaper] View all articles by Choi Young-min Copyright @Korea Arts Newspaper Corp. All rights reserved. [Korea English Press]
- 관리자 기자
- 2026-05-27 13:40
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Cellist Yang Sung-won Speaks About Music and Life
March 5, 2026, 11:00 AM, Suseong Artpia Small Theater, Interview after Cello Yang Sung-won's performance The tone of the cello resonating on stage captures the passage of a human being's time. Within that deep resonance lie layers upon layers of time, memory, and human emotion. Cellist Yang Sung-won's performance is precisely such music. Beyond mere interpretation or technique, his playing embodies contemplation on life and existence—sometimes like deep solitude, sometimes like a warm breath embracing life. The theme of the program he presented on this day is 'Romanticism'. It sheds light on the 'romantic spirit' that permeates the era through the flow of 'the archetype of romanticism (Bach) - the expansion of romanticism (Casado) - the maximization of romantic expression (Kodály)' . JS Bach | Cello Suite No. 1 in G major, BWV 1007 G. Cassadó | Suite for Solo Cello Z. Kodály | Sonata for Solo Cello, Op. 8 However, the romanticism he speaks of is not a concept referring to the musical style of a specific era. Rather, it is closer to the most fundamental emotion of human existence. “We often associate Romanticism with composers like Schumann or Brahms. However, to me, Bach’s music also has a romantic aspect, and I believe that romanticism is the soul of Baroque music. After all, doesn't Romanticism stem from our hope? I believe that hope has always been with humanity.” For him, romance is ultimately an emotion stemming from hope. He viewed this hope not as something existing only in a specific era or nation, but as an emotion shared by all of humanity. Thus, his programs weave music from different cultural spheres into a single narrative. The passionate colors of Spain, the rugged roots of Eastern European Transylvanian music, and music from various eras meet on a single stage. This is because, even amidst different cultures, human emotions ultimately converge in the same direction. ○ A musician's time, the moment life becomes music Yang Seong-won tells the story of a musician's growth process by deeply connecting it to human life. Musicians in their 20s must excel above all else. This is because it is a time to demonstrate technical perfection. However, he says that for a musician, the real change begins after that. "When you enter your 30s or early 40s, you begin to find your own voice. And by the late 40s, the life you have lived naturally reveals itself in your music." He uses the expression 'cells of life' when describing musical expression . "People accumulate countless emotions and experiences as they go through life. I consider these to be the cells of life. What matters is how boldly one can capture those cells in music." For him, music is said to be a path to finding his identity, imbued with will. Ultimately, viewed as life becoming one and maturing, with moments gathering to form his own storytelling, his performance becomes a narrative as time accumulates. “I think this is the time when I can enjoy my life as a musician the most.” The words of the artist, who has stood on the stage for a long time, contained both composure and conviction. ○ Classical music, carrying on the voice of humanity A strong sense of responsibility is rooted in Yang Sung-won's musical world. For him, classical music is not merely a collection of works, but a record of the voices left by humanity. Classical music contains human voices spanning centuries. Performers are the ones who bring that voice back into the present. We have a responsibility to let that voice be heard and to pass it on so that the next generation can continue to carry it on. This way of thinking is also an important lesson he learned from his mentor: a perspective that views a musician's career not as a matter of personal success, but as a process of carrying on humanity's legacy. For this reason, he continues to challenge himself with new works and interpretations. This is because, for an artist, curiosity is not merely a motivation for creation, but also a cultural responsibility. Art transcends the limits of the body. The performer eventually faces their physical limits. Yang Sung-won also calmly accepts this fact. Since playing the cello ultimately involves using the body, there is bound to be a limit eventually. However, he believes that art does not disappear along with the limitations of physical ability. At this point, he thinks of a painter: the French Impressionist painter Claude Monet. Even after his eyesight deteriorated significantly, Monet left a new beauty in his works through honest expression. To him, Monet's art conveys an important message. It demonstrates that art can create new expressions even within any limitations. The artist's gaze is directed 10 years into the future. What Yang Seong-won considers most important in life and art is his perspective on time. I always think that next month is more important than this week, and next year is more important than next month. What is more important than next year is 10 years from now. He expresses regret over making regrettable choices in an era focused on immediate results and achievements. Therefore, he views his activities from the perspective of future generations. “I believe that if someone can climb to a higher place by stepping on every single brick I am laying right now, it is a meaningful endeavor.” For him, education, performance, and various musical activities are ultimately about building a foundation for the next generation. ○ What a musician needs: Balance The life of a musician demands deep concentration because they must spend long hours alone for practice and study. A performer needs a certain amount of 'selfish time,' time to be completely alone. However, that time is also ultimately preparation for returning it to society. “Through that time, you must be able to find better music, deliver deeper performances to the audience, and help your juniors.” He recharges by looking at visually appealing pictures when one of his five senses is exhausted, for example, when his hearing is tired, and he also engages in extensive reading to maintain this balance. He reads books in various fields, ranging from history and novels to religion and philosophy, and even future technology. Nothing shows the world as widely as a book. It is also his habit to read books in Korean, English, and French alternately. It is an effort to maintain balance in his thinking through diverse languages and perspectives. Music is ultimately a human story . Towards the end of the interview, he spoke about the essence of music again. Classical music is an art that contains the voice of humanity. Therefore, music is not merely a work of the past, but a record that carries on the time, emotions, and hopes of human life. In particular, the cello is called the instrument most similar to the human voice and creates deep emotional resonance. Cellist Yang Sung-won's music asks us a question as a language to understand life. "What kind of life are we living, and with what voice will that life be passed down to the next generation?" ▲ Director Choi Young-min, Cellist Yang Sung-won [Choi Young-min, Korea Arts Newspaper]
- 관리자 기자
- 2026-05-26 00:51
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Mayor Oh Soon-moon’s Vision for Seogwipo: "Building a City of Hope through Education, Culture, and Innovation"
“Education and culture are the city's foundational strength and a powerful magnet drawing young people.” Since taking office, Mayor Oh Soon-moon of Seogwipo has consistently championed the vision of ‘Seogwipo City of Hope,’ his eyes brimming with conviction. Amidst the crises of low birth rates, aging populations, and the rapidly changing primary industries, Mayor Oh chose a head-on breakthrough—transforming Seogwipo's very constitution rather than merely maintaining the status quo. From the bold decision to expand the Lee Jung-seop Art Museum tenfold to preparing for the successful hosting of next year's National Sports Festival in Jeju, we met with Mayor Oh Soon-moon, who is redrawing Seogwipo's map, to hear about the future he envisions for Seogwipo and his concrete administrative strategies. [Editor's Note] 1. Upon taking office, you presented the municipal goal of ‘Seogwipo: A City of Hope Opening the Future Through Education and Culture’ and have devoted all efforts to it. What have been the achievements so far? Upon taking office, I presented the municipal vision of ‘Seogwipo: A City of Hope Opening the Future Through Education and Culture’. This is a strategic choice to respond to changes in the population structure and a vulnerable industrial structure. Seogwipo faces the structural challenge of youth population outflow amid low birth rates and aging. Our ultimate goal is to create an urban structure where education, culture, and tourism interconnect—ensuring young people stay, tourists linger, and consumption feeds the local economy. Above all, to create a stable foundation and a nurturing childcare environment for young families, the city operates weekend and holiday childcare support programs at seven locations (two in Jeju City, five in Seogwipo City). It is also expanding specialized programs for elementary, middle, and high school students, along with career lectures and the ‘Dream Project’ for college admission success, all of which are receiving positive responses from parents. Furthermore, building upon the existing Startup Bay, we are newly operating a Startup Town that supports both entrepreneurship and housing, steadily laying the groundwork for young people to put down roots in the region. Alongside this, we have worked to enhance Seogwipo City's appeal by developing it into a cultural tourism city, striving to make it a place people want to visit and stay. Last year, we improved street environments centered on the original downtown area, including Lee Jung-seop Street and Myeongdong-ro, and established permanent nighttime cultural and tourism content like the ‘Geumto Geumto Saeyeon Show’ and the ‘Original Downtown Cultural Festival’. As a result, a structure has been formed where an average of about 2,000 visitors per day are steadily drawn in. 2. What are the city administration goals and projects Seogwipo City is prioritizing most this year? Building on the six major strategies pursued since taking office, we will redouble our efforts this year to create a ‘Seogwipo City of Hope’ where the local economy thrives and citizens' daily lives are filled with vitality, ensuring these changes permeate every corner of the region. First, we will further enhance the permanent downtown programs this year and expand the cultural tourism city project to include townships and villages. - We will operate weekend permanent programs and seasonal events centered around Saeyeon Bridge and the downtown area. Starting with the March Rapeseed Flower International Walking Festival, we will schedule events like the Downtown Cultural Festival, Geumto Geumto Saeyeon Show, Drone Light Show, and Chilseokri Festival seasonally to create stay-and-enjoy content offering fun no matter when visitors come. Furthermore, we will leverage the Lee Jung-seop Street and Myeongdong-ro commercial district revitalization project, which will see 10 billion won invested over five years starting this year, as an opportunity for the downtown commercial district to leap forward again. Beyond existing traditional markets and alley-type shopping districts, we will identify small-scale alley commercial districts that are not large in scale but have high growth potential. We will support them with consumption promotion events and lay the groundwork for their sustained growth. Concurrently, we will diversify tourism products to channel cruise tourists and crew members arriving via Gangjeong Port into the city center. We will enhance hospitality, city guidance, and promotion to translate these visits into consumption and revenue. Furthermore, we will continuously strive to strengthen the competitiveness of primary industries, which form the foundation of our region. We will also do our utmost to ensure citizens feel tangible changes in their daily lives, including the successful implementation of the integrated medical and long-term care system starting in March. 3. The Lee Jung-seop Museum plays a crucial role in revitalizing the Lee Jung-seop Street and Myeongdong-ro commercial districts. How is the museum expansion project progressing? The Lee Jung-seop Museum expansion project is being pursued to resolve structural issues such as the existing museum's limited visitor capacity, insufficient exhibition and storage space, and inadequate amenities. This is not merely an extension but a project to rebuild the museum as a core hub of Seogwipo's cultural policy. After expansion, the total floor area will increase to 5,928㎡, approximately ten times the current size. Exhibition halls will expand more than threefold, and storage facilities will grow over ninefold. This will enable simultaneous operation of special and permanent exhibitions while significantly improving artwork preservation conditions. The total project cost is 36.8 billion won. Approximately 5 billion won has already been invested to complete preliminary procedures, including the demolition of the existing museum and detailed design services. An additional 5 billion won was secured last year, allowing full-scale construction to commence in April. Currently, civil engineering work (excavation and retaining wall construction) is underway. A budget of 15.7 billion won has been secured for this year, and the 2027 project cost of 11.1 billion won will also be reflected in phases. Civil works are scheduled for completion by May of the first half of the year, followed by the completion of the structural framework within the year. Interior and exterior finishing works will then proceed sequentially. Aiming for reopening in August 2027, we will develop it into a complex cultural space combining exhibition, education, and archive functions beyond a simple art museum. It will serve as a representative landmark and a core axis for revitalizing the original downtown area. 4. Following the National Sports Festival for the Disabled in September this year, the National Sports Festival will be held in Jeju in October. What are the preparations and plans for this? This year's National Sports Festival for the Disabled (Sept. 11-16) will be held in Jeju for the first time, and the National Sports Festival (Oct. 16-22) will be held in Jeju for the first time in 12 years. The opening and closing ceremonies will be held at the Jeju World Cup Stadium in Seogwipo, and the Gangchanghak Sports Complex will serve as the main venue. Consequently, a large number of athletes and visitors are expected to visit Seogwipo City. Accordingly, Seogwipo City established a ‘National Sports Festival Preparation Support Task Force’ starting in January 2025. It is closely collaborating with the Jeju Special Self-Governing Province Sports Festival Planning Team to advance preparations. Our city is expanding and renovating 24 venues, including the Seogwipo City Comprehensive Gymnasium, to provide athletes with optimal competition environments. The 3,090-seat Comprehensive Gymnasium will also serve as a venue for the 2027 National Youth Sports Festival and the 2028 National Community Sports Festival following the National Sports Festival. Furthermore, to provide convenience for visitors and athletes coming to Seogwipo City and support a successful hosting, we have organized 14 specialized task forces for each area of preparation and are systematically advancing preparations. The National Sports Festival for the Disabled, being held for the first time in Jeju, precedes the main National Sports Festival to raise social awareness of disabled sports. Accordingly, our city is conducting intensive inspections of: △the status of accommodation facilities, including the presence of disabled-accessible facilities; △the availability of disabled-accessible facilities at major tourist sites; and △the installation of disabled-accessible facilities in public restrooms. Based on the results of these sector-specific surveys, we plan to take seamless measures to supplement disabled-accessible facilities and ensure no inconvenience. Meanwhile, Jeju Special Self-Governing Province is preparing a ‘Digital Games’ unique to Jeju, differentiating itself from other regions. Plans include digital ticket entry, digital medal ceremonies, and robot-assisted Games operations. Digital tickets will be used not only for stadium entry but also for event authentication and regional tourism promotions. In step with this, our city will actively promote the development and promotion of tourism content within our jurisdiction. We plan to host festivals and cultural performances during the Games period, aiming to create a festival-style event rich in attractions. We ask for your keen interest and support for the National Para Games and National Sports Festival being held in Jeju this year. 5. Seogwipo City is a major citrus-producing region. With the duty-free import of American mandarins starting this year, farmers' concerns are growing. What countermeasures are in place? Following the implementation of the Korea-US FTA (Free Trade Agreement), American mandarins became duty-free starting this year. Imports mainly occur from January to May, with over 70% expected to enter the domestic market between March and April. This period overlaps with the peak shipping season for Jeju's own citrus varieties like Hallabong and Cheonhwa-hyang, so it cannot be said there will be no short-term impact. However, I believe the core issue is not simply the increase in imported volume, but rather how stably we manage the domestic citrus supply and demand, and how well we supply high-quality citrus to the market. The expansion of imports of foreign fruits like mandarins is a structural trend. The issue is not limited to mandarins as a single competing fruit. Therefore, rather than focusing solely on price defense, a strategic shift is needed—one centered on quality, branding, and supply management—to solidify the market position of Jeju's late-season citrus varieties. Therefore, I believe it is crucial that we each respond by making the efforts we can from our respective positions. For instance, farmers, as the primary producers, must cultivate high-quality citrus and harvest only fully ripened fruit for shipment. Distributors, including the Agricultural Cooperative and other retailers, need to rigorously sort out non-premium citrus and manage supply and demand. Administratively, it is necessary to promote the support and institutional improvements required for the foundation of high-quality citrus production. Specifically, Seogwipo City will actively promote the excellence of late-season citrus and alleviate farmer concerns through on-site communication. We will also vigorously promote initiatives like the Lunar New Year online campaign and late-season citrus consumption through our online shopping mall, ‘Seogwipo in Jeong’. Furthermore, we will strengthen crackdowns on non-marketable citrus to establish a shipping order centered on fully ripened fruit. 6. Finally, a message for the citizens? In 2026, we will continue to devote our full efforts to stabilizing people's livelihoods and revitalizing local commerce. We will also inject vitality through culture and tourism, and further solidify the competitiveness of primary industries, which form the foundation of our region. Notably, following the National Sports Festival for the Disabled in September, the National Sports Festival will be held in Jeju, centered in Seogwipo, in October. With many athletes and visitors expected to visit Jeju, we must successfully host these events to showcase Seogwipo City's capabilities nationwide and turn this into an opportunity for new leaps and changes. We ask for your active participation and cooperation in demonstrating courteous and mature civic awareness, and in extending warm hospitality to the athletes and visitors. I believe the true measure of administrative success lies in its tangible impact on citizens' daily lives. By responsibly completing the policies we have pursued thus far, we will spare no effort to the very end for the betterment of citizens' lives and the development of Seogwipo City. Thank you. [Korea English Press Reporter Seo Ju-yeon]
- 관리자 기자
- 2026-03-10 14:33
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Voices for Peace Resonate in New York: IWPG to Advocate for 'DPCW' International Law at the UN
The International Women's Peace Group (IWPG, President Jeon Na-young) will dispatch a delegation to the 70th session of the Commission on the Status of Women (CSW) at the United Nations Headquarters in New York this March, marking the start of its full-scale international activities. March 8th is the UN's officially designated ‘International Women's Day’, a day to honor women's social, economic, and political contributions and promote gender equality. The UN CSW serves as the central forum for global discussions on gender equality and the advancement of women's rights. The 70th CSW will focus on the key theme of “Ensuring women's and girls' access to justice and promoting fair legal systems.” Aligning with this, IWPG plans to emphasize the role of women in overcoming the legal and structural barriers faced by women and girls worldwide and achieving substantive peace. Comprising representatives including Chairperson Jeon Na-young and branch directors from South Korea and overseas, this delegation will conduct active peace diplomacy both inside and outside UN Headquarters during the two-week session. Key events include co-hosting side events with the African Union (AU) and Türkiye, solidarity events with global NGOs, high-level meetings with government officials and UN ambassadors, and gatherings with New York-based members. Specifically, IWPG plans to express the necessity of establishing the ‘Declaration and Program of Peace and Cessation of War (DPCW)’ as international law during this session and propose sustainable peace-building strategies through women's peace education to the international community. Representative Jeon Na-young stated, “This CSW participation will be a milestone in establishing cooperative relationships with women's ministries and international women's organizations worldwide, ensuring that women-led peace leads to tangible policies and legal codification.” She added, “At a time when anxiety from social conflict and war is greater than ever, we will carry out IWPG's peace activities in New York, delivering comfort and peace.” Meanwhile, IWPG is an international women's NGO registered with the Republic of Korea's Ministry of Gender Equality and Family, the UN Economic and Social Council (ECOSOC), and the Department of Global Communications (DGC). It operates in solidarity with 115 branches across 122 countries and over 900 partner organizations in 68 countries, working toward the goal of ‘realizing sustainable world peace’. [Korea English Press]
- 관리자 기자
- 2026-03-10 13:38
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