Korea JoongAng Daily - Daily News from Korea

The author is a music critic and director of the classical music brand Poongwoldang.

After the disastrous failure of his Symphony No. 1, Sergei Rachmaninoff withdrew from composition. Around that time, he grew close to the great bass Feodor Chaliapin, and in September 1898 held a recital of art songs in Yalta, a coastal city on the Black Sea. After the performance, an unexpected visitor appeared: the writer Anton Chekhov. "My young friend, I have been watching you for a long time," Chekhov told him. "Now that I see you in person, I am certain you will become a great figure."

For the 25-year-old Rachmaninoff, the words felt like an oasis in a desert. Deeply moved by that unexpected encouragement, he would later name Chekhov as his favorite writer. He also recalled the moment, saying he would cherish those words with joy for the rest of his life.

Chekhov's message remained alive within him. Decades later, Rachmaninoff became an exile, forced to leave his homeland, and rose to prominence as one of the most influential pianists of his time. In his youth, the success of his compositions and his ambitions as a performer had taken precedence. With time, however, his perspective shifted. His stature as a celebrated pianist became less an end in itself than a means to support others — fellow artists who seemed to have stepped out of Chekhov's stories, fragile yet full of dreams, as well as émigrés who, like him, had lost their homelands.

It is not widely known that Rachmaninoff composed a song based on the final monologue of Chekhov's play "Uncle Vanya (1899)." In that passage, Sonya offers a quiet promise of rest beyond suffering: "We shall rest. We shall hear the angels. We shall see the sky shining with diamonds. We shall see all the evil of our lives, all our suffering, sink into the sea of mercy and our life will become quiet, tender, sweet like a caress. I believe it. I believe it."

Rachmaninoff may have wished, through music, to wipe away the tears of countless "Uncle Vanyas." In doing so, he perhaps believed he was repaying a debt of gratitude to the writer whose simple words had once restored his spirit. The connection between the two men endured not through collaboration, but through a shared belief that art could console suffering and lend meaning to lives shaped by loss and exile.

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.

Ko Young-kyung

The author is a research professor at Yonsei University's Digital Trade Research Center.

More than 40 days have passed since the Strait of Hormuz was effectively blocked. On one side, lives are being lost in war. On the other, economies are nearing suffocation, particularly across energy-dependent regions in Asia.

In Surat, in India's Gujarat state, textile factory workers began leaving their jobs as gas prices quadrupled. Many chose to forgo daily wages and travel 1,400 kilometers (870 miles) back to their hometowns. With fuel costs too high to cook proper meals, staying close to family became the more viable option. Of the city's 1 million textile workers, about 250,000 have left. In Bahadurgarh, a hub for the footwear industry, roughly 40 percent of the 450,000 workers have also departed. Morbi, which accounts for 80 percent of India's ceramic production, has effectively come to a halt due to gas shortages. The Philippines has declared a national energy emergency, while Indonesia, despite being resource-rich, has introduced fuel rationing to stabilize domestic supply.

Energy is only the beginning. Fertilizer costs and transport fees are rising, and food prices are expected to follow in quick succession. The burden falls first and most severely on low-income households, for whom securing the next meal is already a pressing concern. What begins as a supply disruption quickly becomes a livelihood crisis.

The data reflect this strain. The Asian Development Bank projects growth in Southeast Asia's developing economies at 4.6 percent and South Asia at 6.3 percent, both down 0.2 percentage points from the previous year. The International Monetary Fund forecasts that growth in emerging and developing Asia will slow from 5.5 percent last year to 4.9 percent this year. At the same time, inflation in emerging economies is expected to rise from 3 percent to 4.9 percent, and could reach as high as 6.7 percent if the conflict persists. Growth is weakening while prices rise, creating a dual burden that is difficult for vulnerable economies to absorb.

Yet the same crisis is reshaping the flow of capital in the opposite direction. Assets managed by Dubai-based family offices total around $1.2 trillion, while the United Arab Emirates holds approximately $700 billion in overseas investments. After an Iranian missile strike hit Palm Jumeirah, a high-profile artificial island in Dubai, ultra-wealthy individuals in Asia began considering moving assets to safer financial hubs such as Singapore and Hong Kong. According to Reuters, a Singapore-based wealth management lawyer said that six or seven out of 20 Dubai-based clients had inquired about relocating their assets, with three already proceeding. Similar patterns were observed during the U.S.-China tensions and the Covid-19 pandemic. Wealth, unlike labor, moves quietly and swiftly toward stability.

Even if the Strait of Hormuz reopens, recovery for ordinary economies will take time. Supply chain experts estimate that normalization could require between eight and 13 weeks, given the backlog in shipping and production. The spring planting season has already been missed in several regions, and the Food and Agriculture Organization of the United Nations warns that the full impact on food prices could last until 2027.

Meanwhile, shares of Singapore's three major banks, after an initial dip following the outbreak of war, have already returned to prewar levels. The inflow of capital from the Middle East has been cited as a contributing factor. In times of crisis, capital ultimately finds an exit, while labor is often forced to retreat. This divergence underscores a broader structural imbalance in the global economy.

The current crisis illustrates a familiar pattern: those with fewer resources move to survive, while those with greater wealth move to preserve and expand. This time is no exception.

This article was originally written in Korean and translated by a bilingual reporter wi...

The author is a political professor at Yonsei University.

The world appears increasingly unmoored. The disappearance of shared principles and common purpose has left global standards fragmented. More troubling, the future of the international order seems to have lost a broadly accepted direction, raising questions about whether the current moment represents a transition or a descent into deeper disorder.

The ongoing conflict involving the United States, Israel and Iran is a central source of instability. Yet its tangible benefits are limited when weighed against mounting global crises in inflation, production, energy and values. The costs are far greater than any potential gains. Longstanding observations about war suggest that conflicts lacking a clear moral or strategic justification rarely deliver meaningful advantages. Hostility between neighboring states cannot reasonably justify a broader escalation that places the entire international system at risk.

The contradiction is particularly stark given that the current global energy security system, which underpinned decades of economic growth, was largely shaped by the United States itself. Washington's criticism of Russia's invasion of Ukraine contrasts with its own actions toward Iran, which risk weakening support for Ukraine while indirectly benefiting Russia's economy. Even these consequences may be secondary. The broader effects on U.S. inflation, economic stability, domestic cohesion, democratic values and international credibility are unlikely to be positive.

Questions of global standing and shared values are even more significant. In this respect, even a military victory could amount to a Pyrrhic one for the United States, yielding losses that outweigh gains in terms of influence and legitimacy. The case of China offers a useful point of comparison.

After the September 11 attacks in 2001, global sympathy for the United States was strong. However, the prolonged war on terror, a form of asymmetric conflict, reshaped the international order. While the United States was deeply engaged in conflicts across the Islamic world, other countries benefited from shifting economic conditions. In the same year as the attacks, Washington supported China's accession to the World Trade Organization (WTO), which took place on Dec. 11, 2001.

According to one estimate, the war on terror resulted in around 900,000 deaths and cost roughly $8 trillion. The scale of both human and financial loss was immense. Yet many of the affected regions reverted to their previous political conditions after the conflicts subsided. During this period, the global economy underwent significant changes.

In global trade, China became the world's largest trading nation within a decade of joining the WTO. In manufacturing, long regarded as a key measure of national strength, the shift was even more pronounced. At the start of the war on terror, China's share of global manufacturing stood at about one-quarter of that of the United States. By the end, the U.S. share had fallen to roughly half of China's. China's output eventually surpassed the combined manufacturing capacity of the United States, Japan, Germany and Korea.

Similar patterns emerged in maritime networks, where China came to dominate major global shipping routes outside the Atlantic. In naval shipbuilding, U.S. and Chinese output shifted dramatically over two decades, with China producing far more vessels in later years. These figures suggest a broader redistribution of power.

It would be an oversimplification to attribute these changes solely to the war on terror. The United States did achieve greater security in some respects. However, an excessive focus on asymmetric conflict appears to have contributed to China's rise and a relative decline in U.S. influence.

Today, China is steadily moving from a regional to a global power, not only in trade, manufacturing and maritime capacity but also in shaping international perceptions and partnerships. ...

President Lee Jae Myung is set to attend a virtual summit on Friday on navigation in the Strait of Hormuz, led by Britain and France. The meeting comes amid continued instability in the Middle East and seeks to build international cooperation to ensure freedom of navigation through the strategic waterway. For Korea, whose economy depends heavily on secure passage through the strait, active participation and a clear diplomatic stance are both timely and necessary, as well as part of its broader responsibility as a trading nation.

The scope of the discussions extends beyond military protection. The agenda includes mine clearance, safeguarding civilian vessels and stabilizing global energy supply chains. These measures point to an effort not only to address immediate disruptions but also to establish a more sustainable maritime security framework. More than 70 percent of Korea's crude oil imports pass through the Strait of Hormuz, making it a critical energy lifeline. Regardless of how the conflict involving Iran develops or how cease-fire negotiations unfold, the importance of this route will remain unchanged. From that perspective, Korea's participation in shaping international norms and safety mechanisms is also a strategic step in preparing for the post-conflict environment.

This initiative is a multilateral effort led by European countries. France's military role and Britain's diplomatic approach are being combined to present a layered model of international cooperation. For Korea, this creates an opportunity to secure its stake on the global stage under the principle of freedom of navigation, without being seen as aligning exclusively with any particular bloc. Although the United States is not participating in this specific meeting, maintaining close strategic communication with Washington remains essential alongside multilateral engagement.

At the same time, Korea must manage its bilateral relations with Iran carefully to ensure the safety of its vessels and crews operating in the region. This requires a calibrated diplomatic approach that balances competing interests and minimizes potential risks. Addressing such a complex issue calls for a high level of diplomatic coordination and precision.

Rights come with responsibilities. If Korea seeks to uphold the freedom of navigation and secure the economic benefits tied to it, it must also contribute actively to the multilateral framework that supports it. Strengthening joint response capabilities within such a system offers one of the most reliable safeguards in times of crisis. It also reinforces Korea's role as a responsible participant in the international community.

Korea's proactive diplomacy in the Strait of Hormuz should help reduce economic uncertainty while enhancing the safety of its ships and seafarers. The outcome of these efforts will be an important test of the country's ability to protect its national interests while contributing to broader international stability.

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 Lee Jae-lim and read by an artificial voice.

Tesla's AI chip road map became clearer after CEO Elon Musk confirmed on Thursday that the company would use both Samsung Electronics and TSMC to manufacture its next-next-generation AI6 chips, employing a dual-track strategy similar to the one Tesla used for the next-generation AI5 chip.

Musk made the comments as the automaker pushes to scale chip production to support its expanded lineup of autonomous vehicles and humanoid robots.

He wrote that the AI6 would "deliver a true doubling of performance over AI5 in the same half reticle size using the Samsung 2nm fab in Texas," adding that the "AI6.5 will further improve performance using TSMC 2nm in Arizona."

Samsung is building a chip foundry in Taylor, Texas, while TSMC is building a similar plant in Phoenix, Arizona.

Musk's remarks followed his announcement that the next-generation AI5 chip model has completed tape-out, meaning the design work has been finalized and is ready to move into production.

Tesla's current AI4 chip generation powers the company's full self-driving systems. The next-generation AI5 chips are to be produced by Samsung and TSMC, with Musk earlier indicating they would enter mass production by mid-2027, ultimately powering autonomous vehicles and Optimus humanoids.

After Samsung reported a $16.5 billion chip manufacturing deal with Tesla in July 2025, and following Musk's public claims that Samsung's Taylor site would be technically superior to TSMC's, many observers assumed Samsung would become the sole manufacturer of the AI6.

Strained capacity at TSMC, given that its major customers include Nvidia and Apple, lent strength to the assumption.

However, Musk later shifted the messaging in October, saying on X that Tesla would maintain a dual-sourcing strategy for upcoming chips.

TSMC remains the dominant foundry leader, with roughly 70.4 percent of the foundry market share according to TrendForce's fourth-quarter 2025 data, while Samsung holds about 6.8 percent. Even with Samsung's progress, TSMC's scale and supply chain depth make it difficult to ignore in leading-edge production.

Musk also expressed high hopes for the AI5 chip's production volume, boasting that the AI5 "will be one of the most produced AI chips ever."

He also shared an image of a prototype chip, which is believed to have been made at Samsung's Pyeongtaek operations in Gyeonggi around late March. The inference is based on the label "KR2613" etched on the bottom right of the packaging, indicating that the prototype was made in Korea during week 13 of 2026.

Musk further reinforced the importance of both foundries by directly thanking Samsung and TSMC for their support of the AI5.

Looking further ahead, Musk is also pursuing vertical integration through Terafab, a planned $20 billion chip megafactory in Austin, Texas, envisioned as a joint venture involving Tesla, SpaceX, and xAI.

As part of that effort, Bloomberg reported on Thursday that Musk's sources have been reaching out to major chipmaking equipment suppliers — including Applied Materials, Tokyo Electron, Lam Research, and Samsung — related to Terafab. The Terafab team asked Samsung for support, but the Korean company instead responded with an alternate proposal to allocate more of Tesla's chip capacity at its Taylor site.

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

Airfares are poised to skyrocket further next month as Korean carriers have raised fuel surcharges for May to record levels, driven by a surge in oil prices in the wake of the lingering Iran war.

With the set price, fuel surcharges alone will amount to 1.13 million won ($770) for a round trip on the Incheon-New York route, even before the base fare is considered, a 470 percent surge from prewar levels in March.

Korean Air said on Thursday that its fuel surcharge for May tickets would range from 75,000 won on short-haul routes such as Fukuoka to as much as 564,000 won on long-haul routes, including New York and Washington, on a one-way basis. Before the Iran war, the surcharge ranged from 13,500 won to 99,000 won in March.

The surcharge, levied separately from base fares, fluctuates with international oil prices, typically benchmarked against Singapore jet fuel.

Korean Air sets the surcharge on the 16th of each month for tickets issued the following month. For the May benchmark period — from March 16 to April 15 — the average price of Singapore jet fuel stood at 511.21 cents per gallon, or $214.71 per barrel.

That figure places the surcharge at Level 33, the highest tier in the system under Korea's distance-based framework. The top tier applies when the average price of Singapore jet fuel exceeds 470 cents per gallon.

The surcharge stood at Level 6 just in March before logging a 27-tier jump in two months, the sharpest climb since the system's introduction in 2016, and the first time the highest tier has been applied.

Once a ticket is issued, subsequent changes in fuel costs do not result in additional charges or refunds, though surcharges are reimbursed separately in the event of cancellation.

Asiana Airlines also said its May surcharge would rise to between 85,400 won and 476,200 won one-way, compared to April's range of 43,900 won to 251,900 won.

Strains in crude supply are increasingly constraining jet fuel production, as refiners, already stretched to meet demand for gasoline and diesel, scale back aviation fuel production.

Korea, the world's largest exporter of jet fuel, has been forced to nearly halt exports as it had to redirect the supply to domestic use, as reported exclusively by the Korea JoongAng Daily earlier this month.

"Even if the war ends, prices are unlikely to fall quickly, given the damage to infrastructure," said Lee Hwi-young, a professor of airline service management at Inha Technical College, adding that demand for air travel will inevitably weaken further.

"In times of uncertainty, demand for long-haul routes reduces sharply as people shift toward short-haul routes," Lee said. "But that doesn't mean a boost for short-haul routes, as some consumers end up canceling their plans amid rising travel costs."

Low-cost carriers such as Jin Air, Jeju Air and Eastar Jet are expected to announce their updated surcharges soon.

Air Premia said on April 15 that it would cancel 12 flights scheduled between June 20 and June 28. Eastar said it would suspend about 50 flights on the Incheon–Phu Quoc route from May 5 through the end of the month.

This article is by Kim Seon-mi and read by an artificial voice.

When Yoon, an office worker in Dobong District, northern Seoul, began planning a move closer to his in-laws in Namyangju, Gyeonggi, he decided to try to find a larger home to accommodate not only him and his wife but also the child that they were planning to have.

Then came the cost estimates.

The quotes he received for even a minimal renovation of a standard 84-square-meter (904-square-feet) apartment — limited to just remodeling the kitchen and bathrooms and replacing the wallpaper and flooring — had risen by about 70 million won ($47,500) compared to three years ago.

Even the price of hiring a moving company had climbed from 1.6 million won to 2 million.

With housing prices up by roughly 200 million won and interest rates pushing his monthly loan payments up by an additional 500,000 won, Yoon said he was reconsidering the move.

"I'm wondering if it might be better to stay where we are and hire a part-time babysitter instead," he said.

His hesitation reflects a broader change in Korea's housing market, in which surging costs associated with moving — which includes renovation, logistics and securing a lease — are discouraging mobility even during the traditional spring moving season.

The effect is already showing up in relocation statistics.

About 615,000 people moved residences nationwide in February, down 11.5 percent compared to a year earlier and below the four-year average for the month, according to government data. The annual figure has also declined, with 6.12 million people changing residences last year — a 2.6 percent drop and the lowest figure in more than five decades.

While long-term demographic shifts such as aging and a declining birthrate are factors, economists say the immediate pressure of rising costs is playing a more tangible role.

"For households, the increase in housing prices and moving-related expenses is likely to be felt more directly than structural factors," said Yang Jun-sok, an economics professor at the Catholic University of Korea.

At the core of the trend is a sharp rise in the prices of key construction materials over the past five years.

Prices of other components commonly needed in home renovations, such as metal window frames, kitchen countertops and electrical wiring, have surged by 50 to 110 percent, adding to the overall burden.

Labor costs have followed a similar trajectory. As skilled workers in trades such as tiling and carpentry age out of the work force, fewer younger workers are replacing them, pushing wages higher, according to industry sources.

Consumers are feeling the impact beyond home renovations.

Moving service fees rose about 30 percent nationwide from 2020 to 2025, and the price of furniture and household goods increased by roughly 31 percent, according to consumer price data.

There are also concerns that costs could climb further. Rising oil prices and instability in the Middle East have already prompted some paint manufacturers to raise prices. The cost of materials derived from polyvinyl chloride — widely used in windows, flooring and insulation — is expected to follow.

"Construction materials depend heavily on imports, so they are highly sensitive to global supply chains and exchange rates," said Kim Sang-bong, an economics professor at Hansung University.

Housing market dynamics are further compounding the effect.

In the Seoul metropolitan area, rising home prices and a shortage of long-term jeonse (lump-sum deposit) leases have pushed up rental costs, making it harder for households to move up the property ladder.

Jeonse prices have also been on a steady upward trend, rising for 62 consecutive weeks as of early April.

Higher interest rates are increasing the cost of borrowing at the same time. A borrower with a 500 million won loan over 30 years could see monthly payments rise by about 750,000 won at current rates.

The result is a growing number of households choosing to stay put — or shifting t...

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

HD Hyundai Electric has completed the country's largest-capacity transformer that uses environmentally friendly insulating oil — a unit destined for export to Britain.

The power transformer maker said on Thursday that it had passed final approval testing for a 400-kilovolt, 460-megavolt-ampere transformer that uses environmentally friendly insulating oil. Its size is the largest of its kind by capacity ever produced by any domestic firm.

The transformer will be supplied to a substation operated by Britain's National Grid.

Replacing conventional mineral oil, the transformer employs a synthetic ester insulating fluid that is readily biodegradable. The shift reduces fire risk and limits environmental damage in the event of a leak, making it well-suited to sites where safety and environmental standards are paramount.

Due to engineering complexity, such transformers are notably difficult to manufacture, as boosted voltage and capacity raise the challenges of heat management and insulation, HD Hyundai Electric said.

Demand for environmentally friendly transformers has been rising sharply globally, with the market projected to grow at an annual rate of 6.9 percent from $1.22 billion in 2024 to $1.81 billion by 2030, according to the market tracker Grand View Research.

This article is by Yoo Ji-yoen and read by an artificial voice.

Korea's beauty industry is ramping up collaborations with cute, popular characters for limited-edition merchandise to generate hype on social media and drive sales.

The shift reflects the industry's focus on a younger consumer base, with teenagers and people in their 20s as its main customers.

As a result, the pared-down look that has long characterized Korean beauty products is giving way to more playful designs with princess-themed packaging and cartoon collaborations.

What was once just a lipstick often now comes with a key ring, while a compact cushion might include a pouch for a popular character. Efforts to distinguish limited editions and brand collaborations have evolved into a full-fledged arms race as companies compete to capture attention with collectible items tied to their products.

At a health and beauty store operated by Olive Young in Myeongdong on Monday, shelves near the entrance were dominated by such products. A Hello Kitty collection by color cosmetics brand Wakemake sat alongside a Monchhichi-themed line from Amuse, while Etude's revived princess-inspired collection was prominently on display nearby.

The products, locally called "character goods," share common strategies, such as eye-catching packaging that can resemble toys at a glance, often paired with themed giveaways. Customers who spend above a certain amount may receive character-branded key rings, pouches or bags. Others come with items such as hairpins and stickers.

Products featuring character branding have effectively become a new normal in the industry. Last month, cosmetics brand Rom&nd released a collection featuring Dutch character Miffy, while Etude launched a line built around the Korean puppy character Ganadi.

Not one to be left behind, Olive Young partnered with Manggom, a disgruntled bear character created by Yurang, for a monthlong promotion involving 21 brands and 119 products, many bundled with limited edition items such as blankets and pouches.

While such collaborations are not new, they have become more sophisticated. Rather than simply refreshing packaging with well-known intellectual property such as Disney or Marvel characters, brands are now building entire concepts and storylines around them.

Amuse, for instance, adopted a Japanese-style capsule toy shop aesthetic for stores stocking its Monchhichi collaboration, while Etude framed its Ganadi line as a "beauty counseling center." Items in Rom&nd's Miffy collection, in turn, are packaged as stationery sets. These campaigns often extend beyond products to include pop-up stores and immersive offline experiences.

The shift also underscores how marketing power in the beauty industry has moved decisively to social media. Instead of emphasizing ingredients or functionality, brands are focusing on packaging that photographs well, turning each product into a potential viral post on platforms like TikTok and Instagram.

"Character goods offer younger consumers, especially Gen Z, a sense of owning something that is limited edition," a spokesperson at Amuse said. "They also serve as visually appealing content that people are eager to share on social media, which drives strong engagement."

With product differentiation between items such as compact cushions, tints and serums becoming increasingly difficult in the crowded beauty market, giveaways featuring character merchandise have emerged as one of the few remaining ways to stand out. The strategy not only refreshes existing products but also gives consumers an added incentive to purchase.

Competition among retail platforms has further fueled the trend. As outlets such as Olive Young, Musinsa, Ably and even Daiso expand their beauty offerings, exclusive collaborations and limited releases have become key tools for differentiation. Last month, cosmetics brand Isoi launched a Betty Boop-themed collection exclusively through Musinsa.

The approach is also drawing in new cus...

This article is by Jin Eun-soo and read by an artificial voice.

"Palace is from the past, but the people visiting here will be from the present time and they will all have their own visions, so I wished the ceremony to be a mix of present and future, like a spaceship inside a palace," Yang said during a roundtable interview held Wednesday at Korea House in central Seoul.

So he built a spaceshiplike circular stage at the center of Heungnyemun's courtyard for the opening ceremony — a rare choice in a palace setting, where square stages are typically used to echo the site's angular architecture.

The spring edition of the biannual K-Royal Culture Festival runs for nine days starting April 25 across five palaces in Seoul and at Jongmyo Shrine. All of the festival's programs requiring reservations have already been sold out, including the opening ceremony, according to organizer Korea Heritage Agency.

The opening ceremony, directed by Yang, will take place on the evening of April 24 inside Gyeongbok Palace in front of Heungnyemnun, the gate that comes after the main entrance Gwanghwamun under the theme of "Hyper Palace."

"I wanted to create a performance where people around the world can converge at this traditional venue and enjoy, transcending race, age, gender and time," Yang explained.

"I imagined what it would be like if a spaceship descends here where the future and present would meet. With eodo [path walked by the kings] at the center, we created a round-shaped stage that looks like a spaceship station and a DJ booth across from it."

The show will be opened by Mongyudowonmu, a traditional dance inspired by the famous eponymous Joseon era (1392-1910) painting, followed by ganggangsullae, one of Korea's traditional dances, performed by rapper Woo Won-jae and a performance team from the Korea Heritage Agency. A hanbok (Korean traditional clothing) fashion show will take place against the backdrop of EDM and certified geomungo (Korean zither) performer Heo Yoon-jeong will share the stage with Choi Ho-jong from Mnet's "Stage Fighter" (2024) male dance survival show. A traditional Bongsan talchum (mask dance) will be reinterpreted by renowned dancer Aiki from Mnet's female dance survival show "Street Woman Fighter" (2021).

Yang is known for directing a range of large-scale performances, including the opening ceremony of the 2018 PyeongChang Winter Olympics and cultural events for the 2025 APEC summit in Gyeongju, both noted for blending traditional elements with modern artistic styles.

Striking a balance between tradition and modern elements, however, has not been a difficult task for him.

"Also, I ultimately consider tradition is connected to the present. Of course, I study about the palace and history, when I am to handle a project. But a lot of my staging begins from the premise that the past and the present are connected and I think to myself, 'what would they have done with this if they had lived in present times?'," he said.

Because the performance was to take place inside the palace, there were limits to letting run his imagination free.

"Since the show takes place inside a cultural heritage site that need to be protected, there were some restrictions such as not being able to install something close to the wall or not being allowed to install a steel structure on the eodo and so on," he said.

"But just like I put on a drone show in a roofless stadium for the PyeongChang Olympics' opening ceremony, when everyone was concerned about the freezing conditions, those kinds of constraints only motivate me more creatively, and I like to take on such challenges."

Having directed the opening ceremony of the Olympics — widely considered a pinnacle for many art directors — Yang now sets his sights on a more unexpected field.

"If I have a chance, I would like to direct the opening stage of a 'League of Legends World Championship'," he said.

"I was so blown away by its scale and how hip it was. I am not a gamer, but I am extremely...