Korea JoongAng Daily - Daily News from Korea

This article is by Ahn Hyo-seong and read by an artificial voice.

The government will relax foreign currency liquidity regulations for banks and exporters and urge securities firms to curb overseas investment promotions in an effort to push more U.S. dollars into the market and slow the won's prolonged decline.

The Ministry of Economy and Finance jointly announced the measures on Thursday with the Finance Ministry, the Financial Services Commission (FSC), Bank of Korea (BOK) and Financial Supervisory Service (FSS).

Officials said the goal is to ease dollar shortages by encouraging banks and companies to release foreign currency they are holding.

The Finance Ministry explained that the existing regulations were designed mainly to limit excessive capital inflows and did not sufficiently account for the recent trend of sustained foreign exchange outflows due to outbound investments by Korean individuals.

The won strengthened against the dollar on Thursday, closing at 1,478.3 won per dollar in the Seoul foreign exchange market, down 1.5 won from the previous day.

A key step is easing requirements on banks' dollar reserves. Currently, financial institutions are required to maintain a certain level of foreign currency reserves to prepare for crisis scenarios. If the financial authorities judge these reserves insufficient, the institutions must submit a foreign exchange replenishment plan.

Authorities believe this requirement has led banks to hold more dollars than necessary. As a result, the obligation to submit these plans has been temporarily suspended through the end of June 2026.

"There are cases where banks are unnecessarily holding onto dollars rather than releasing them into the market," said Jeong Yeo-jin, director of the Foreign Exchange System Division at the Finance Ministry. "Easing this regulatory burden will allow this liquidity to return to the market."

The government will also raise the cap on forward exchange positions for foreign bank branches in Korea, such as Standard Chartered Bank Korea and Citibank Korea. The limit will increase from 75 percent of equity capital to 200 percent. The rule had been intended to prevent excessive dollar-denominated borrowing.

For example, a foreign bank branch with 10 trillion won ($6.76 billion) in capital was previously limited to 7.5 trillion won in forward exchange positions. Now, they will be able to raise up to 20 trillion won in dollars through forward contracts, potentially injecting more greenbacks into the domestic market.

"To prevent a sudden surge in external debt, we are initially relaxing the cap to 200 percent and will adjust it further depending on market conditions," a Finance Ministry official said.

Support for exporters will also increase, allowing them to take out dollar loans not only for capital expenditures but also for operating costs such as payroll. The goal is for companies to borrow in dollars, convert them to won for domestic use, and thereby boost dollar supply in the local market.

Investment by foreign individuals in Korean stocks will also be made easier. Foreign nationals will be able to buy Korean shares through their local brokers without opening accounts with domestic securities firms, under an initiative to promote the use of consolidated investor accounts.

Authorities also plan to ease procedural barriers faced by foreign companies listed overseas when investing in Korea.

While such companies are automatically granted professional investor status, this was not well communicated to domestic financial institutions, which often required pre-approval and additional documentation for foreign exchange derivative trades.

Securities firms will also suspend new overseas investment marketing campaigns. Authorities have cited rising demand for overseas investment by retail investors as one of the factors weakening the won. The FSS held a meeting with brokerages on Thursday, urging them to refrain from promoting foreign stock trades.

"Brokerages hav...

This article is by Kim Ji-ye and read by an artificial voice.

Actor Choi Ji-woo is set to return to the big screen for the first time in three years with the film "Sugar: A Mother's Code," in which she plays the mother of a son with Type 1 diabetes.

"I hope the film reminds people how precious everyday life is and warms their hearts," said Choi during the film's press conference held in Yongsan District, central Seoul, on Thursday, describing the movie as a "warm family film."

"And I hope it helps viewers understand the illness and realize that there are people in such situations and that so much can change depending on how you choose to look at it."

Directed by Choi Shin-choon, "Sugar: A Mother's Code" is a human drama centered on Mi-ra, a mother whose 12-year-old son is diagnosed with Type 1 diabetes, which is an incurable autoimmune disease that requires lifelong treatment and management. After the diagnosis, the family's once-peaceful life begins to unravel as they struggle with the constant fear and pressure of managing their son's blood sugar levels - made even more difficult by his fear of needles.

Mi-ra eventually learns of a needle-free continuous glucose monitoring device that has yet to be officially released in Korea. Determined to help her son, she decides to bring the device into the country, a choice that leads her into legal trouble and ultimately to consequences that ripple far beyond her family.

Alongside actor Choi, the film features actors Min Jin-woong, Ko Dong-ha, Kim Young-sung and Kim Sun-young.

The film is based on the true story of Kim Mi-young, who is currently the head of the Korean Society of Type 1 Diabetes. Kim's son was diagnosed with Type 1 diabetes at the age of three. In 2017, she was investigated for violating the Medical Devices Act, and a complaint was filed by the Prosecutors the following year. She was later granted deferred prosecution.

Portraying a real-life figure, Choi said she approached the role with "great care."

While the film does introduce medical information about Type 1 diabetes, the cast emphasized that its focus goes beyond the condition itself, highlighting how a family's dynamics and emotional landscape shift in the face of illness.

"Of course, it's important for the film to convey accurate medical information about the condition," actor Choi said. "But more than that, I believe it's far more important for people to truly understand the feelings [of the people]. The film made me reflect on the fact that this is also a way of living and on the mindset we need to adopt when we come to accept it."

Choi, also being a mother herself, said that it was difficult to suppress her emotions rather than understand her character's feelings.

"I received the script after I had become a mother, so I think I took it more heavily to heart, and found myself deeply invested in it," she said. "I could deeply relate to the efforts and courage that come with trying to protect your child and make them feel a little more at ease. In fact, I think what was harder was holding those emotions back because I was worried they might come across as too intense."

Actor Ko, who plays Mi-ra's son, Dong-myeong, shared that he got to learn about the condition while preparing for the role, including listening to the stories of people living with Type 1 diabetes.

"While preparing for this film, I listened to the stories of many [Type 1 diabetes] patients," Ko said. "[I learned that] rather than openly expressing their emotions, they tended to hold them in for the sake of their families, and I tried to reflect that in my performance."

As the film delves into the everyday lives of a family living with Type 1 diabetes, the cast hopes it will raise awareness of the condition while emphasizing that the story is not meant to be heavy, but ultimately hopeful.

"I hope our film shows how even the smallest acts of care and attention can lead to much greater outcomes," said actor Min, who plays the father in the film...

This article is by Choi Min-ji and read by an artificial voice.

Singer Hwasa's "Good Goodbye," Davichi's "Time Capsule" and Woodz's "Drowning" (2023) - these winter hits owe part of their success to the personal stories that inspired them.

"Good Goodbye" saw a sudden surge in popularity after Hwasa and actor Park Jeong-min, who also stars in the song's music video, performed a skit at the Blue Dragon Film Awards on Nov. 19, during which they re-enacted a dramatic farewell between lovers.

Hwasa became the first solo female artist this year to achieve what is known as a "perfect all-kill," with "Good Goodbye" topping all six major Korean music streaming platforms: Melon, Genie, Bugs, YouTube Music, Flo and Vibe. The track also topped Billboard's World Digital Song Sales chart as of Dec. 13.

Woodz's "Drowning" also gained traction through its backstory. The artist drew renewed attention after performing the song on KBS2's "Immortal Songs: Singing the Legend" (2012-) for a special Armed Forces Day episode in October of last year. At the time, the singer was fulfilling his mandatory military service. The segment was ultimately cut from the broadcast, but a video of the performance was later uploaded to YouTube and went viral, garnering 24 million views as of Tuesday.

Woodz's history as an underdog further fueled the song's belated success. Twelve years ago, he debuted as a member of Yuehua Entertainment's boy band UNIQ, which has been on an indefinite hiatus since 2018. He then joined X1 through the audition program "Produce X 101" (2019). However, both groups were short-lived - the former due to China's ban on Korean entertainment content, and the latter from a vote-rigging scandal that affected the whole franchise.

Davichi's "Time Capsule," released in October, has consistently stayed on the charts. As of Tuesday, the track ranked No. 3 on Melon's daily, weekly and monthly charts. The duo's media appearances, during which they shared the story behind the song, helped boost its visibility. On the Dec. 2 episode of JTBC's "Sing Again" (2020-), Davichi member Lee Hae-ri, who serves as a judge on the show, revealed that the song was written by Lee Mu-jin, a former contestant from the first season.

Among indie tracks, Hanroro's "0+0" has gained attention for its connection to the album and novel with the same name, "Jamong Salgu Club," which follows four middle school students who want to die but also want to live. The title "0+0" carries the message that even if two people have nothing, they can still dream of eternity together. As of Tuesday, the track ranked No. 4 on Melon's indie chart.

While each of these songs initially became popular from external buzz, their sustained success is credited to their musical quality.

"A specific event can draw attention to a song, but that's just a spark. These artists already have voices that resonate with listeners, and the songs themselves have strong appeal," said music critic Kim Yoon-ha.

Critic Lim Hee-yoon added, "In tracks like 'Time Capsule' and 'Drowning,' the extremely high notes and clear dramatic arcs within the songs are what make them popular."

This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaking editor. All AI-assisted translations are reviewed and refined by our newsroom.

This article is by Sarah Chea and read by an artificial voice.

The fallout from Ford Motor's decision to terminate a $6.5 billion supply contract with LG Energy Solution - a deal worth roughly 30 percent of the battery maker's annual sales - has sent shock waves through Korea's battery industry, stoking fears of broader contagion.

The move follows Ford's earlier dissolution of a $11 billion battery joint venture in the United States with SK On, citing slowing EV demand.

LG Energy said Wednesday that it had received formal notice from Ford ending a six-year deal valued at $6.5 billion to supply EV battery cells and modules. The deal was set to commence in January 2027 and would have produced 75 gigawatt-hours of batteries.

The cancelled deal amounted to 28.5 percent of LG Energy Solution's revenue last year and marked the company's largest order over the past 18 months - a key contract intended to lift utilization rates at its European manufacturing facilities.

The dissolution is interpreted as the result of Ford's overhaul of its EV strategy following the Donald Trump administration's abolishment of tax credits of up to $7,500 for EVs.

Ford halted the production of key models such as the F-150 Lightning pickup while pursuing a strategy to increase the share of hybrid and internal combustion vehicles. EV sales in the U.S. market plunged 42 percent in November compared to a year earlier.

Even the European Union has withdrawn its ban on the sale of internal combustion vehicles starting in 2035.

"At this juncture, it will not be easy for LG Energy Solution to immediately secure new orders capable of replacing the lost volume, making delays to improvements in utilization rates at European plants in 2027 all but inevitable," said Cho Hyun-ryul, a senior analyst at Samsung Securities.

"While a recovery in profitability driven by the strength of localized energy storage system battery production in the United States remains a positive factor, the slowdown in EV demand in both the United States and Europe could intensify through the first half of 2026."

The order was originally set to be produced at LG Energy's plant in Poland, accounting for 16.7 percent of the facility's annual capacity. The plant is currently operating at less than 50 percent utilization.

Following the termination of its contract with LG Energy, Ford appears poised to strengthen its collaboration with China's CATL. Last week, the U.S. automaker announced the dissolution of its joint venture with SK On across three battery plants in the United States, deciding to assume full ownership of two facilities in Kentucky, while SK On will take full control of the plant in Tennessee.

Ford has officially announced plans to leverage CATL's licensing to establish and operate lithium iron phosphate, or LFP, battery production at its Kentucky plant within 18 months.

Other automakers, including General Motors, are also revising their EV strategies. In April, GM sold its stake in a Michigan battery plant - operated jointly with LG Energy - to the Korean company.

Several joint ventures between U.S. automakers and Korean battery makers have yet to begin operations. Samsung SDI has two joint plants with Stellantis in Indiana, and one of them has not been fully completed, while production at the first plant has already been redirected toward LFP batteries for energy storage systems.

Samsung SDI is also constructing a joint plant with General Motors in Indiana.

Shares of local battery makers and material companies suffered a sharp drop on Thursday. LG Energy Solution slipped 8.9 percent to close at 378,500 won ($255) while its material affiliate LG Chem fell 8.5 percent to 333,000 won. Samsung SDI plunged 6.1 percent to 277,000 won, while SK Innovation, the parent company of SK On, dropped 5.2 percent to 104,800 won.

This article is by Jeong Jae-hong and read by an artificial voice.

The government will begin distributing Nvidia GPUs to companies, universities and national AI projects in February of next year as part of a broader push to expand AI infrastructure through research programs supporting domestically developed neural processing unit (NPU)-based AI semiconductors and upgrades to next-generation networks.

The Ministry of Science and ICT unveiled the strategies with names that roughly translate to "K-Nvidia Fostering" and "AI Highway Completion" on Thursday at the meeting of science and technology-related ministers at the Government Complex Seoul in central Seoul on Thursday. The government is allocated to receive 52,000 GPUs from Nvidia by 2030 to support larger strategic goals, including national AI projects and foundation model development.

The government will review and approve a plan to secure and allocate advanced GPUs for "national AI innovation" and will provide about 10,000 advanced GPUs secured through this year's first supplementary budget.

The initial 10,000 GPUs will be designed to operate as large-scale clusters, enabling training and inference of large AI models that single GPUs cannot handle.

The government will receive applicants for the GPUs through its online platform, AIinfrahub.kr, until Jan. 28, 2026. It will provide up to 256 H200 GPUs or up to 128 B200 GPUs per project for up to 12 months.

Universities and research institutes will receive the GPUs free of charge, while small- and medium-sized enterprises and startups will pay 5 to 10 percent of the market price. Companies run by young entrepreneurs will receive a 50 percent discount on their share of the cost.

The ministry will use an additional 6,120 B200 GPUs it secures later for the development of flagship national AI models, including an independent AI foundation model project.

The government also set a goal of upgrading domestically developed NPUs with strengths in inference and physical AI into AI semiconductor servers that deliver more than twice the power efficiency of foreign GPUs by 2030. Another goal is to reduce reliance on Nvidia's proprietary parallel computing platform and application programming interface, CUDA, by developing open-source system software that allows AI models to be developed and run on domestically produced NPUs, building what so-called K-NPU software ecosystem.

It will create early demand through pilot purchases by public institutions and links to public procurement. The government will also support the commercialization of on-device AI semiconductors across key industries, including automobiles, the Internet of Things, home appliances, robotics and defense. It will also pair the effort with large-scale investment and financing, long-term equity investment in startups and tax credits for investment in NPU-based infrastructure.

The Science Ministry additionally unveiled a network upgrade plan under a "hyper-AI network strategy" to address surging traffic and ultralow latency demands in the AI era.

The government will push for the commercialization of 6G technology by 2030 and build AI radio access networks (RAN) nationwide. It plans to install more than 500 6G-based AI-RAN sites at industrial and service hubs. As for the currently dominant 5G technology, the government will aim to fully shift 5G networks from nonstandalone to standalone mode next year and expand the country's backbone network capacity more than fourfold by 2030.

Submarine cable capacity will more than double by the same timeline, with landing points diversified to areas including the Yellow Sea and the South Sea.

By 2030, the government aims to secure a 20 percent share of the global 6G and AI network market and foster five globally competitive companies each generating more than 500 billion won ($340 million). Regulatory reforms, technology development and demand creation will accompany the technological advancements in an aim to achieve the goals.

"Thro...

This article is by Lee Jae-lim and read by an artificial voice.

HD Korea Shipbuilding & Offshore Engineering hosted a workshop to present the results of future technology research conducted with global maritime partners, including the Massachusetts Institute of Technology (MIT), Greek shipping company Capital and the American Bureau of Shipping, the company said Thursday.

The two-day workshop held through Thursday marked the completion of the first year of research by a consortium formed in March to promote technological innovation and global decarbonization. The research outcomes focused on autonomous navigation, cybersecurity, small modular reactor (SMR)-powered vessels and 3-D printing-based manufacturing.

As part of the initiative, vessels operated by consortium members will be equipped with HiNAS Control, an autonomous navigation system developed by Avikus, HD Hyundai's autonomous navigation subsidiary, to evaluate fuel-efficiency improvements.

The consortium has also completed a prototype AI model for cyber threat detection and contributed to the development of MIT's Nuclear Ship Safety Handbook, published in October, which aims to establish safety standards for the commercialization of maritime nuclear technology.

More than 180 experts from consortium member organizations attended the workshop, held at the HD Hyundai Global Research & Development Center in Seongnam, Gyeonggi. Participants included representatives from MIT, Capital, Greek shipping company Dorian, the Singapore Maritime Institute, and Britain-based renewable energy investment firm Foresight Group.

This article is by Lee Jian and read by an artificial voice.

[Interview]

Sold-out shows, devoted fans and performers pulling off impressive movements onstage. No, not a K-pop band - it's the Seoul Metropolitan Dance Theatre.

With its fourth and final production opening Thursday, the company has already filled every seat for its three previous productions this year, selling more than 10,000 tickets - an unprecedented achievement for the 51-year-old public dance company.

"It came as a huge surprise to us - the outcome went far beyond anything we had imagined," artistic director Yun Hea-joung told The Korea JoongAng Daily in an interview Tuesday at the Sejong Center for the Performing Arts. "We were lucky with the timing."

The year indeed coincided with a broader cultural moment in which Korea's contemporary pop sensibility - most notably reflected in Netflix's hit animation "KPop Demon Hunters" - has increasingly intersected with the country's traditional and institutional arts, including dance.

But the company had a successful year in its own right, driven by an ambitious and inventive program.

It opened the season with "Speed," a sleek, fast-paced contemporary work driven by rhythmic music centered on janggu, a traditional Korean double-headed hourglass drum, fused with LED visuals.

That was followed by "Ilmu," also known as "One Dance," a staple of the company's repertoire featuring tightly synchronized group choreography. The work has been staged abroad, including a sold-out run at New York's Lincoln Center.

The third production, "Mimesis," debuted as a nature-inspired work blending traditional Korean dance with contemporary movement, further expanding the company's stylistic range.

Yun, now in her second year at the helm, said her goal this year was to challenge preconceived notions about the company. "Even if we present three works in a single year, I didn't want people to think, 'It's all the same.' I wanted to break down those fixed ideas by programming a truly diverse lineup."

The season concludes this week with "Artist Lab: Duo," a new 70-minute program composed of five 10-minute duet works choreographed and performed by the dancers themselves. The show runs through Sunday at the Sejong Center's S Theater, marking yet another new challenge for the company.

"Soloists are strong on their own, and ensemble pieces rely on synchronization, but duets demand a deeper level of emotional and physical responsibility," said Yun, "Dancers who can truly carry a duet are ready to be leads."

One of the performers, dancer Yu Jae-sung, said trust was the most critical element in his duet with partner Han Ji-hyang.

"Rather than starting with movement, we spent a lot of time talking about breath, subtle tremors and the reasons behind each sensation," Yu said. "As our understanding deepened, the movement began to emerge naturally."

The pair present a piece titled "Afterwarmth," inspired by disappearance and what the body remembers after loss. Performed with live piano accompaniment, the work draws from personal experiences - Yu from the death of his father and Han from past romantic breakups.

"We wanted to express the warmth that lingers in the body after someone is gone," Yu said. "That invisible yet undeniable presence became the core of the piece."

Han described the process as liberating.

"Because the emotions were so personal, I felt less pressure to perform and more freedom to follow my own rhythm," she said. "It's an end-of-year performance, and I feel more relaxed and open onstage."

Yu added that the opportunity itself was meaningful. "For dancers in a professional company, chances like this are rare," he said. "It's a moment to express who we are and why we belong on stage."

The performers span a wide range of ages and experience, from a 55-year-old veteran to a 25-year-old newcomer to the company.

"The dancers chosen for this program had the strongest identities," Yun said, likening the show to "a full-course Korean tabl...

This article is by Park Yu-mi and read by an artificial voice.

With concerns growing over "excess liquidity" - that too much money in circulation is fueling asset prices and the weakening exchange rate - the Bank of Korea (BOK) said the perception is a "statistical illusion" and moved to clarify the data.

The central bank said it will publish an additional indicator next year that excludes liquid assets as exchange-traded funds (ETFs) alongside the existing data on "broad money," designated M2.

M2 is a measure of immediately accessible money, combining cash and funds deposited in banks, or M1, with money market funds, liquid assets and time deposits with maturities of less than two years - assets that cannot inherently be used as cash.

M2 averaged 4.47 quadrillion won ($3.04 trillion) in October, up 41.1 trillion won, or 0.9 percent, from the previous month, according to the BOK on Tuesday. The on-year growth rate rose slightly to 8.7 percent from 8.5 percent in September.

M2 has risen for seven consecutive months. Of the 8.7 percent on-year increase, 3.3 percentage points came from liquid assets, nearly matching the 3.8 percentage point contribution from cash and deposits. During the month, the total value of liquid assets increased by 31.5 trillion won, while time deposits with maturities under two years rose by 9.4 trillion won.

The BOK said the increase was driven by a surge in equity-type liquid assets amid a stock market rally, as well as banks stepping up deposit intake to manage their liquidity coverage ratio.

The central bank also sought to address the recent "excess liquidity" controversy directly, through an online post. The post said the current M2 growth rate in the 8 percent range only slightly exceeds the long-term average of 7.4 percent and is in line with historical averages seen during past easing cycles. It also said the M2-to-nominal GDP ratio remains stable in the long term.

The BOK pointed to changes in the composition of monetary indicators as a key reason M2 appears inflated. Excluding liquid assets in line with International Monetary Fund recommendations, October's growth rate falls to 5.4 percent - comparable to the 4.5 percent of the United States. From just before the Covid-19 pandemic in March 2020, cumulative M2 growth stands at 49.8 percent in Korea and 43.7 percent in the United States.

Against this backdrop, the BOK said it will begin publishing M2 data excluding liquid assets alongside the existing figures. The dual disclosure will be applied on a temporary basis for one year, starting with the November 2025 data, to be released in January 2026.

While liquidity expansions typically fuel housing prices and exchange rates, the BOK said concerns linking recent trends to liquidity growth amount to "an excessive interpretation." It said rising home prices in the Seoul metropolitan area are mainly driven by supply shortages, a preference for ownership of one high-value residential property and expectations of price gains in specific areas, leading to concentration in demand.

The depreciation of the won against the dollar, it added, has been more strongly influenced by supply-demand factors such as increased overseas liquid asset investments by residents as well as exporters' tendency to hold foreign currency.

In response to criticism that an expansionary fiscal policy has boosted the money supply, the BOK said the underlying trend remains an inflow of funds to households and businesses, while acknowledging that government measures such as supplementary budgets have had some impact. It added that, in theory, money supply increases when banks and other monetary institutions purchase government bonds.

"Focusing too narrowly on liquidity in a policy framework centered on interest rates could 'blur the essence' of recent asset price and exchange rate movements," said Park Sung-jin, head of the BOK's market operations team.

"The move does not mean the central bank will stop monitoring M2," said Lee ...

This article is by Lee Jian and read by an artificial voice.

As winter settles in and Seoul's temperatures dip below freezing, the city's theaters offer a warm refuge. This holiday season has a packed calendar full of ballet, musicals and concerts that draws families, couples and solo theatergoers alike.

Here are five Christmas-related live performances to catch in Seoul during the year-end holidays.

'The Nutcracker'

The Korean National Ballet is staging its annual year-end "Nutcracker" performance at the Seoul Arts Center in Seocho District, southern Seoul, through Dec. 25.

The troupe is Korea's first professional ballet company, founded in 1962.

Opening on Dec. 13, "Nutcracker" tells the story of a young girl who receives a Nutcracker doll as a Christmas Eve gift and, in her dream, travels to the Land of Sweets with the Nutcracker, who transforms into a prince.

The original's music was composed by Pyotr Ilyich Tchaikovsky, with choreography by Marius Petipa and Lev Ivanov. The ballet premiered in 1892 at the Mariinsky Theatre in St. Petersburg, Russia.

This production's choreography is staged in the version by Yuri Grigorovich (1927-2025), widely known as a "living legend" of Russian ballet.

First staged by the Bolshoi Ballet in 1966, Grigorovich's version departs from the original's emphasis on fairy-tale charm and places greater emphasis on the plot's dramatic tension, psychological depth and technical difficulty. It also carries a darker and more serious tone overall by focusing on the conflict and emotional growth of the characters. As a result, it is often described as an "adult version of 'The Nutcracker.'" Another key difference is that the Nutcracker is portrayed by a young dancer rather than by a wooden doll.

The performance will be accompanied by the Korea National Symphony Orchestra, conducted by James Tuggle and Lee Byung-wook.

The show is 120 minutes and includes an intermission. Ticket prices range from 10,000 won ($6.76) to 120,000 won, available through the company and theater's official websites as well as local ticketing platform Interpark.

Another 'Nutcracker'

Universal Ballet is also set to stage its own "Nutcracker" at the Sejong Center for the Performing Arts in Jongno District, central Seoul, from Dec. 17.

Universal Ballet is Korea's first public professional ballet company, established in 1984.

Its production follows the version by Vasily Vainonen (1901-1964) of Russia's Mariinsky Ballet, which is more faithful to the spirit of the original choreography - highlighting musicality, clarity of storytelling and classical form - and is strongly oriented toward children and families.

Compared to Yuri Grigorovich's version, which stresses athleticism and dramatic intensity, Vainonen's choreography prioritizes elegance, symmetry and classical lines.

The performance will be accompanied by the Korea Coop Orchestra, conducted by Kim Kwang-hyun.

The show is 120 minutes, including an intermission. Ticket prices range from 30,000 won to 140,000 won and are available through the company and theater's official websites as well as the local ticketing platform Interpark.

Classical singer Jo Su-mi's 'My Secret Christmas'

Soprano Jo Su-mi is set to hold a one-day solo concert titled "My Secret Christmas" on Dec. 25 at the Seoul Arts Center.

Jo is one of Korea's most internationally celebrated opera singers who rose to global prominence after winning the Maria Callas Competition in Italy in 1986. Trained at the Accademia Nazionale di Santa Cecilia in Rome, Jo has performed leading roles at the world's top opera houses, including La Scala, the Metropolitan Opera and the Vienna State Opera.

The program is packed with classical masterpieces, beloved pop standards and Korean favorites. It includes festive orchestral works, such as Leroy Anderson's "Christmas Festival" and timeless carols, including Adolphe Adam's "O Holy Night" (1847) and Irving Berlin's "White Christmas" (1942).

Operatic highlights will be Bizet's "To...

Moon Hong-kyu

The author is a principal researcher at the Korea Astronomy and Space Science Institute.

On stage, students demonstrated how they built an automated recycling sorter. Once a sensor detected an object, a machine learning program distinguished cans from bottles, and a 3-D-printed five-axis robotic arm deftly placed it into the correct bin. A robotics expert seated nearby let out a low whistle. Another team attached accelerometers to a rocket. The students then adjusted the number and angle of its fins and shifted the center of gravity to identify variables that determine flight trajectories. These were not answers lifted from a textbook but results earned through dozens of trials, errors and revisions. The rocket they launched soon vanished from the camera's view.

In early July, I was contacted about an education program that allows students to pursue their own research topics. Sixty-two researchers and professors from research complexes served as mentors to 72 teams from general high schools for roughly 100 days. At the awards ceremony in late November, the Generation Z presenters spoke with a confidence that rivaled many graduate students.

One team chose to create a hypothetical crewed Mars base. Having presented in this field at an international conference several years ago, I volunteered without hesitation to mentor these students. They absorbed ideas like sponges, aware that a Mars habitat must withstand radiation and extreme temperature swings and requires laboratories, control rooms, power units and farms, along with air locks to regulate pressure between interior and exterior spaces.

The team designed a mission in which five crew members would live self-sufficiently, testing a closed ecological loop and examining the planet's effects on musculoskeletal and immune systems. The students built a 3-D model of the base. To safeguard crew health, they calculated daily caloric needs and balanced vitamins, minerals and protein intake with hydroponic crops and insects. When experts assessed their work as the first domestic study on nutritional design for a crewed Mars habitat, their faces lit up. I felt proud.

Balancing classes, evening self-study sessions and exams, the students grew into aspiring researchers. Though Korea's education system remains constrained by regressive structures - and that reality is hard to ignore - the experience offered a clear lesson.

In an era shaped by artificial intelligence, the ability to define a problem will shape the future. This program made that insight tangible not only for the students but also for their mentor.

This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaking editor. All AI-assisted translations are reviewed and refined by our newsroom.