#Ewha University

[rvllybllply2014]

Women at Ewha university are protesting to keep men out of their female only university.

[kpoploverfrevr]

Massive Protests Erupt At Korean Women’s Universities As Administrations Secretly Push For Co-education Transition

Protests are taking place across campuses.

South Korea is home to multiple women’s universities that play a central role in women’s education and empowerment. Ewha University, Seoul Women’s University, Dongduk University, Inha University, Sungshin University, etc., are only a few of the women’s-only institutions that are highly revered in the country. But in the past few days, multiple of these campuses have witnessed intense student revolts.

Though students from different schools have joined the protests, Sungshin University and Dongduk University are the two epicenters. Both schools have allegedly pushed for a co-educational transition without consulting student bodies.

On November 11-12, the campus of Dongduk Women’s University erupted in major protests, with hundreds of students occupying buildings and boycotting classes. The historic campus was covered with funeral wreaths bearing slogans opposing the secret conversion of the university into a co-ed institution. Multiple structures inside the university were spray painted in red, declaring “No to Coeducation.” Students also pelted eggs and ketchup on the statue of the university’s founder, Cho Dong Sik.

This chaos germinated from “Vision 2040,” a development proposal that the university has been discussing, allegedly in secret. As per reports, on November 7, students learned that the school was planning to admit male students under this proposal without consulting with the student body.

The university administration claimed that the change was only discussed as a possibility during a meeting to set goals for 2040, with nothing finalized. But according to official filings, the university has admitted six male students to the Korean Language & Culture Studies program this year. This is an undergraduate program that is meant only for international students.

According to Lee Song Yi, the co-chair of Dongduk’s emergency committee, several incidents of violence against women have added up to the student anger reflected in the recent protests. These include a man posting lewd photos of himself inside the campus in 2018, a professor sexually assaulting a student, a medical student murdering his girlfriend at the Sindang Station, the Busan roundhouse kick incident, and a man assaulting a woman for having short hair. In such a social climate, female students are staunchly opposed to the idea of compromising the few exclusive spaces for women.

"Although the university isn’t a perfect haven, we have felt free inside the university campus, and getting rid of a safe space where women can freely express their opinions goes against the founding purposes of the university." - Lee Song Yi

Students from other women’s colleges in Seoul also joined the protests at Dongduk. Multiple students donning the school jackets of Ewha University and Seoul Women’s University were spotted at the demonstrations.

Following the protests at Dongduk, Sungshin Women’s University also witnessed a huge protest on Friday, November 15. More than 1,200 students showed up at the demonstration to oppose the university’s decision to open admissions to male students in its International School of Korean Culture and Technology from the 2025 spring semester.

The Sungshin University campus walls have been covered with hand-written posters and signs condemning the school’s decision, and students have organized sit-ins as well. Funeral wreaths conveying messages opposing the admission of male students were also spotted on campus.

In both cases, the schools have been accused of responding to the student protests in an insensitive manner. Sungshin Women’s University allegedly used toxic thinners to erase protest messages from the campus structures.

At Dongduk University, things escalated even further, with male professors allegedly acting violently toward protesting students on multiple occasions.

Police were also reportedly dispatched at Dongduk University when students tried to force their way into the president’s office on November 11. A police officer was caught on video urging students to calm down and reminding them that they would be giving birth to babies in the future and shouldn’t engage in illegal acts. The students, enraged at the comment, shouted back that they would not, and the brawl continued. According to Seoul Jongnam Police Precinct, the police officer’s comment came after the students tried to break into the president’s office while pounding the door with a fire extinguisher.

Students at these universities are continuing their fight to have the decision of co-educational transition repealed, and it wouldn’t be unprecedented if they succeed. In 2015, Duksung Women’s University also brought forth a similar proposal, followed by Sungshin Women’s University in 2018. Both had to be withdrawn after fierce opposition from students.

[dosoguan]

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[whatisonthemoon]

Moon and Helen Kim met

Sun Myung Moon and Ewha University president Helen Kim (Kim Hwal-lan) had met at least once:

Yonsei and Ewha were like Adam and Eve. These universities were centers of activity for second-generation Christians, both men and women, weren't they? Single men and women were meant to follow me. Young people, I wasn't meant to bring just anyone to save the world.

To climb over a mountain, you must conquer the summit. When you confront Satan, you must settle accounts and separate the blood lineage from Satan, put down new roots on new ground and go on. If this task had been accomplished within the nation, by no the leaf bearing branches from that tree would have expanded and covered the world.

Before meeting the nation's president I went to see the president of Ewha University, Kim Hwal-lan. Didn't she live alone? What I mean is that she was waiting for the Messiah. As for Yonsei University and Ewha University, the first cooperated with the Presbyterian Church and the second with the Methodist church. At that time, Ewha University was connected to President Syngman Rhee's wife through the vice-president of the university, Maria Park. Based on her relationship with Christian missionaries, at that time there was a foundation to be united with the government.

If we could have won over the Western missionaries, and if Kim Hwal-lan and Back Nak-joon could have united and fully accepted the Unification Church, everything would have been realized on earth. If that had come about, I could have reached across to America, with its Christian culture, at one stretch.

- Sun Myung Moon’s Life In His Own Words

Related links and notes below

Kim Hwal-lan (Helen Kim) - 1899-1970; During her time as President of Ewha Women’s University she was personally involved in the expulsion of professors and students who believed in the teachings of the Unification Church. Kim was educated in the U.S., friendly with OSS agent Ed Hymoff, was once a collaborator with Japanese imperialists, and was close to Syngman Rhee. She is recognized as a feminist icon and yet she recruited and organized comfort women at Ewha Womans University.

On Helen Kim (2016)

On the Nangnang Club and Helen Kim / Helen Kim was closely connected to an escort service which used her Ewha students as sex spies / full article: Warfare Efficiency and Control over Prostitutes: The Korean War Frank Frivolous: Helen Kim and the OSS Alleged account of a meeting with Helen Kim in Spirit World

1964-1965: Young Oon Kim’s Missing Year - Young Oon Kim had a meeting with Helen Kim during this time

Various Versions of Young Oon Kim’s Testimony

What the Class Politics of World War II Mean for Tensions in Asia Today (2015)

[asyastudieskorean]

혹시 당신은도 이번 여름에 한국에서 공부할 거예요?

안녕하세요 여로분~ Question for my fellow Korean language students and learners: Is anyone else planning to study abroad this summer?

I'm considering a few programs, namely Sogang University's and Ewha Womans University's month-long international summer study programs. I've gotten a professor's recommendation for Sogang, so I get discounted admission if I go, though I also just applied to Ewha as well.

If you're set to go or are thinking about it, please message me if you feel like it! I'd love to know that others are considering the same thing or also have plans to go. Alternatively, if you've already done one of these programs, I'd also be curious to know how it went for you. 여러분, 감사합니다!

[berealit]

April 9, 2024.

got a secret. can you keep it?

Eloise encontrava-se na biblioteca vazia, pela primeira vez no ano, estava matando aula, sua mente estava inquieta e não fazia ideia do porquê. Talvez isso se desse ao fato de não ter conseguido gravar nada nos últimos dias, por mais que fosse uma das atividades mais prazerosas para a garota, sempre que ligava o gravador, as palavras pareciam fugir de sua cabeça e, consequentemente, de sua boca. Com os cotovelos escorados na mesa, levou as mãos até a cabeça, arrastando os dedos compridos pelos cabelos pretos, enquanto seus olhos se mantinham fixos no gravador portátil. Ou apenas estava cansada demais. Colocou os fones de ouvido e ali, ligou o pequeno aparelho mais uma vez naquela semana.

— Gravação do dia nove de abril de dois mil e vinte e quatro. Fazem alguns dias desde que não consigo gravar nada, acho que esgotei todas as minhas energias vagabundando por aí.

Liberou um riso fraco, colocando o eletrônico em seu bolso ao se levantar para explorar a grande biblioteca da Ewha. Passou alguns minutos em silêncio, enquanto caminhava pelos corredores vazios, escorregando a ponta de seu indicador pelos incontáveis livros, alguns gastos, outros intocados.

— Acordei mais cedo do que o habitual hoje, estava de pé antes das seis. Fiz minha rotina, como sempre e quase perdi a hora por ter ficado em deitada em silêncio ouvindo música a manhã inteira. Esse humor mórbido não é muito comum na minha rotina, então vou culpar o fim do período menstrual!

Puxou um dos livros, encarando a capa por alguns segundos, apesar de saber que sua universidade apoiava diversas causas abertamente, nunca pensou que encontraria um romance lésbico nas prateleiras, principalmente estrangeiro, o que a fez sorrir, iria pegar o exemplar emprestado. Vitoriosa, segurou o livro em mãos e caminhou até a mesa em que estava sentada, pegando sua mochila e caminhando até o balcão para computar o aluguel do livro. Colocou o livro na mochila e se retirou da biblioteca, caminhando agora pelos corredores vazios da universidade. Todas estavam em aula, o que a fez se sentir um tanto imprudente por quebrar o próprio código de ser uma aluna exemplar.

— Eloise, Eloise... Quebrar regras não é muito sua cara.

Murmurou para si mesma, caminhando para fora do campus. Planejava ir até a loja de conveniência mais próxima a pé, talvez caminhar a fizesse bem, o trajeto seria longo, a universidade era imensa. Por mais que houvessem pontos positivos e se sentisse lisonjeada por tamanho reconhecimento por parte das colegas, deveria admitir que a deixava um tanto assustada a ideia de um fansite, não sabia quem era, quais intenções tinha, menos ainda em quais momentos poderia ser flagrada por aí; Eloise sempre prezou por sua privacidade, mesmo que tenha tido muita gente ao redor de si durante toda sua vida, sempre foi uma pessoa privada. Talvez, esse fosse um fator e tanto para se fechar até mesmo para os míseros microSD's que carregava em sua rotina desde pequena. Nunca sabia o que esperar.

Os arredores da Ewha contavam com shopping, restaurantes, cafeterias e pequenas lojas de conveniência; a universidade era também quase como um ponto turístico, o que fazia com que estivesse quase sempre lotada. Dadas as circunstâncias, foi para o ponto de ônibus, iria até o karaokê que costumava frequentar, desta vez para ficar um pouco sozinha. Não demorou muito para chegar no destino escolhido depois que entrou no transporte público, caminhou poucos metros e então, entrou no estabelecimento. Pediu por uma sala, sendo recepcionada com uma risada divertida seguida da pergunta "Sozinha? O que há? Está triste?" que a fez revirar os olhos e soltar um suspiro.

— Ei, qual foi?! Não se pode mais querer passar um tempo sozinha? Vai, quero uma sala, uma garrafa de soju e... Dois cigarros. Mentolados.

As últimas palavras saíram quase como um sussurro, não era algo que se orgulhava de pedir em estabelecimentos, o que a deixava quase sempre com as bochechas vermelhas. Ao ter a liberação da sala em questão, caminhou para dentro e sua primeira atitude ao entrar ali, foi deixar sua mochila sobre o espaçoso sofá, sentando-se ali em silêncio. Tirou o gravador do bolso e ajeitou os fones em seus ouvidos novamente. O aparelho esteve gravando durante todo aquele tempo continuamente, com pouquíssimo conteúdo de voz, já que se manteve em silêncio por boa parte do tempo. Por mais que suas gravações fossem inteiramente privadas, nunca conseguia colocar para fora tudo o que sentia, prezava sempre por levar o mais superficial em suas falas, talvez porque sempre tinha alguém por perto de alguma forma, mesmo que escolhesse os momentos mais tranquilos e isolados para seu fiel diário falado.

— Okay... Agora que estou sozinha e, distante de tudo, talvez eu consiga expelir tudo que está na minha garganta.

Escutou duas batidas na porta, era seu pedido, assim que a bebida, copo e cigarros foram postos a mesa, a morena apenas agradeceu e ofereceu um sorriso gentil antes de o atendente sair pela porta. Serviu-se de um bom copo de soju, cujo bebeu sem pestanejar, sentindo a bebida descer queimando por sua garganta.

— Honestamente, apesar de saber que esse diário não é acessível a ninguém, não é sempre que me sinto apta a soltar sequer meus próprios segredos. Então hoje vou fazer um monólogo!

Seus dígitos alcançaram um dos cigarros sobre a mesa, segurou o item na cor preta e o encarou por alguns segundos, pensando se deveria sacrificar o quão cheirosa estava para acabar com o cheiro da fumaça mentolada em suas vestes. Admitindo para si mesma que a vida era uma só, apenas deu de ombros, acendendo-o. Fechou seus olhos por alguns instantes, tragando profundamente, segurando a fumaça por alguns segundos antes de solta-la vagarosamente. Fumar não era um hábito recorrente, mas lhe ocorria em momentos de alto estresse e aquele dia, era um dos dias em que havia acordado com o pé esquerdo, sequer sabia de onde tinha surgido tamanho desconforto consigo mesma quando teve tantos momentos divertidos naquele fim de semana. Talvez fosse o cansaço batendo, sobrecarga da quantidade de atividades que vinha pegando, fim do período menstrual ou até mesmo efeito do eclipse solar e mercúrio retrógrado em áries.

— Me mudar para Seoul foi uma decisão bem pensada, tinha grandes planos, algumas coisas deram certo, outras deram errado. Devo admitir que a adaptação foi muito mais fácil e receptiva do que eu esperava que fosse, fiz bons laços, tenho colegas de dormitório incríveis, ótimas notas, tenho socializado bastante e até mesmo tenho... Fãs?! De modo geral, tenho tido motivos o bastante para sorrir, então acordar de mau humor, por mais normal que seja, me deixa puta pra caralho comigo mesma.

Houve uma pequena pausa ao falar "fãs", ainda lhe era confuso tudo aquilo. Nunca gostou de grandes exposições, o que explicava também o fato de nunca comentar sobre a situação financeira de sua família que, por mais simples que fosse, poderia facilmente se dizer rica, ao menos era o que ouvia quando raramente mencionava que a família Ko era proprietária da vinícola GODORI. A ideia de ser tratada de maneira diferente por nada que não fossem suas próprias conquistas deixavam-na irritada. Eloise era orgulhosa o bastante para tal comportamento.

— Acho que não admito mau humor partindo de mim mesma sem que tenha um bom motivo. Então, para acalmar meus ânimos, o cigarro ajuda. Eu deveria odiar cigarros, tenho motivações para isso e talvez eu odeie! Mas eventualmente que mal faz?! Sei que faz muito mal, mas é isso aí, fica subentendido.. Odeio acordar mal-humorada, odeio não conseguir gravar, não conseguir colocar pra fora o que quero falar, odeio me atrasar para meus compromissos e odeio me sentir ingrata... Acho que foi o combo do meu estresse de hoje. Mas me sinto mais leve. Ser imprudente nem sempre é ruim. Mas não matarei aulas novamente, eu espero, pelo menos. Ficarei por aqui, vou terminar de beber essa garrafa, cantar algumas músicas e voltar para Ewha. Preciso estudar hoje. See u!

E com isso, a garota levou o cigarro de cor preta até a boca, usando as duas mãos livres para desligar o gravador e retirar os fones. Irei aproveitar aqueles minutos de fim de tarde sozinha.

�� 𝟤𝟣𝗌𝗍 𝖢𝖤𝖭𝖳𝖴𝖱𝖸 𝖦𝖨𝖱𝖫'𝗌 𝖵𝖮𝖨𝖢𝖤 𝖱𝖤𝖢 ● ──┈ 고부미의 마음속에 무슨 일이 있는 걸까요? 한번 알아봅시다!고부미 씨의 머릿속에 무슨 일이 일어나고 있는지 생각해 본 적이 있나요? 한번 알아봅시다!~~ ㅋㅋㅋ

ᅟᅟ         

[namgungeun]

Ewha Woman University NamGung Eun

[ariasmontage]

Ewha Womans' University 🍂🧸

[cosmosbeelover]

The History of Korean Female Soloists from the 20th Century: Episode 3/?

The third episode of 'The History of Korean Female Soloists from the 20th Century' highlights prominent Korean musicians who achieved fame in the early 20th century, during the period of Japanese occupation.

The historical documentation related to these artists is frequently unreliable, largely due to the fact that their contributions occurred almost a century ago, before the Korean War, leading to the loss or unavailability of essential records.

Yun Sim Deok (윤심덕; 尹心悳)

This episode is intended for a mature audience, so I want to issue a warning before proceeding, as it will discuss the topic of self-exit. This episode revisits the life of the renowned soprano Yun Sim-deok. In my initial discussion, the information presented was somewhat limited, as I had only recently begun my exploration of Korean artists. This revised episode will provide a more comprehensive and detailed account of her life and her romantic relationship.

"You poor soul, passionate about life, you are a dancer on the sword" - From Yun Sim-deok’s ‘In Praise of Death'

The inaugural official female vocalist and soprano on the Korean Peninsula, she is renowned for her signature piece, "Ode to Death." Her relationship with playwright Kim Woo-jin has garnered significant attention, particularly due to its tragic nature, as it reflects the cultural phenomenon in the Korea Strait where couples, disillusioned by their inability to fulfil their love, choose to end their lives together. This narrative, akin to Japan's concept of Shinju (心中), sparked widespread speculation and controversy during that period.

Life and Career

Yun Sim-deok (윤심덕; 尹心悳), also known by her nickname Su-seon (水仙), was born on July 25, 1897, in Pyongyang and passed away on August 4, 1926. She was the second of four children in a family of musicians, with her parents serving as pastors at the Namsanjae Church. Her family included her older sister Yun Sim-seong (윤심성), a soprano, her younger brother Yun Gi-seong (윤기성), a baritone, and her younger sister Yun Seong-deok (윤성덕), who specialized in piano, highlighting the musical environment in which she was raised.

In 1907, Yun Sim-deok commenced her education at Jinnampo Private Girls' School, subsequently attending Pyongyang Soongui Girls' School and Pyongyang Girls' High School. She completed her studies at the Gyeongseong Girls' High School (京城女高普) Teachers' Training Institute in 1918. After graduation, she served as a music teacher in Wonju, Gangwon Province, for about a year before being chosen, alongside Han Ki-ju (한기주; 韓琦柱), for a government-funded program to study at the Tokyo Music School in Japan in 1919. With the assistance of Sekiya, the director of academic affairs, she enrolled in the vocal music department, supported by funds from the Japanese Government-General of Korea. While studying in Tokyo, she resided in Mokpo (木浦), and although initially classified as a special exchange student, her enrolment in the Class A Teacher’s Course (甲種師範科) indicates a shift in her aspirations towards becoming a music educator rather than solely focusing on vocal music.

Notably, Yun Sim-deok's younger sister, Yun Seong-deok (윤성덕)(1903-1968), mirrored her sister's trajectory by also entering the field of music education, eventually becoming a professor in the music department at Ewha Woman’s University. This familial connection underscores the significant impact of their upbringing on their professional paths, contributing to the broader landscape of music education in Korea during that era.

On December 19, 1920, she took part in a concert commemorating Beethoven's 150th anniversary. In 1921, while collaborating with traveling theatre groups like Dongwoohoe, which consisted of students from Tokyo, she performed solo pieces such as "Rose" and "Twilight Stream" prior to the play <Kim Yeong-il's Sa>. During this time, she developed a friendship with Kim Woo-jin (김우진) , the son of affluent Kim Seong-gyu, who was pursuing English Literature at Waseda University. This relationship reportedly evolved into a romantic one, and their subsequent mysterious disappearance sparked speculation, although their friends insisted it remained platonic.

After completing her education, she returned to Korea, having fallen in love with him. Following her music studies in 1922 and a year as an assistant teacher, she debuted as a soprano with a solo concert at the Jongno Central Youth Centre. Upon her return to Korea in June 1923, she held a vocal recital at the Janggokcheonjeong Public Hall on July 7. Although she achieved recognition through national tours and performances, she encountered financial hardships while working as a private instructor to support her family. While living as the concubine of a wealthy man named Lee, she received financial assistance that enabled her to send her younger sibling, Yun Seong-deok, to study in the United States. Eventually, she relocated to Harbin, where she embraced an independent lifestyle. Despite her acclaim for a powerful vocal ability, sustaining a career in Western classical music proved to be difficult, prompting her to shift towards pop music and acting. This transition ultimately led Yun Sim-deok (윤심덕) to become a prominent figure in Seoul's concert scene, leveraging the growing fascination with Western music.

After returning from her studies in Japan and settling in Mokpo to care for her two siblings, Kim Woo-jin (김우진) harboured ambitions of studying abroad again, motivated by the New Theatre Movement. However, he faced disappointment upon receiving a letter from her after her return from Harbin, marking their reunion during a time of heightened public interest in her shift from a musical troupe to the theatre group Towolhoe. Despite her parents' objections to her theatrical ambitions, she performed in the play Dongdo (東道) and maintained correspondence with Kim Woo-jin, who offered her financial support. Subsequently, she left Towolhoe to form a new theatre group, Baekjohoe (白鳥會), with her colleagues. When the theatre movement faced difficulties, she secretly met with Kim Woo-jin in Mokpo before traveling to Seoul, where they found comfort in each other's company until his departure for Tokyo. Later, she journeyed to Osaka (大阪) with Yun Seong-deok, who was heading to the United States for piano studies, to record for Ildong Gramophone Company, where she reunited with Kim Woo-jin once more. Among the songs she recorded for Ilchuk (日蓄) Records, accompanied by her younger brother on piano, was "死の讚美" (Death Praise Beauty).

She performed at the Yeonjeon Concert on July 20, 1923, and participated in the Gyeongseong Music Band’s Autumn Concert on October 13. Her appearances continued with the Myodong Praise Team's music competition on October 18, followed by Gyejeongsik's farewell concert on October 19, and the Yeonhui Professional Music Concert on May 11, 1924. Additionally, she took part in the Gyeongseong Medical College Music Department's concert on June 14 and the Joseon Women's Education Association's famine sympathy concert on October 18, showcasing her versatility and commitment to her craft.

During her tenure as a music instructor at Gyeongseong Normal School, she established herself as a prominent vocalist through her concert performances. In 1925, she made a significant career shift by joining the theatre company Towolhoe, where she gained further acclaim as a singer, making impactful television appearances and recording music. Her performance of "Hymn of Death" particularly struck a chord with audiences, enhancing her reputation in the entertainment industry.

After an extensive period with Towolhoe, she redirected her career towards the music sector, achieving notable success through her recordings and broadcasts. Her fame escalated with the release of "Ode to Death" by Ildong Gramophone Company, which received considerable attention with 100,000 copies containing the song were sold, especially after her premature death. Upon her return to Korea, she was celebrated as the queen of the Joseon Orchestra, although she later transitioned back to acting in 1926. Her contributions were recognized at the New Year's Music Concert by Our Boys' Association in February 1926, and her performances were highlighted in various publications, reflecting both her talent and the controversies surrounding her artistic choices.

Her journey into the world of singing commenced in Japan, where she was motivated by Lee Se-gi (이세기), the manager of the Gyeongseong branch of Osaka Ildong Records (Jevipyo), leading to the recording of eleven songs. Following the departure of her younger brother to the United States, she and Kim Woo-jin (김우진) were on their way back to Korea on August 4, 1926, aboard the ferry Tokuju Maru from Shimonoseki when they both leaped into the Genkai Sea. The Ilchukgwa Jebiyo Joseon Record features approximately 20 songs, including Western compositions such as “Net Dream” (Old Dream), “Ttanup River” (Danube River), “Maggie’s Memories,” “Smiling Laurel Flower,” and “The Boat Leaves,” all accompanied by Yun Seong-deok on piano. Unfortunately, her life took a tragic turn when she and her partner, Kim Woo-jin, ended their lives by jumping into the Genkai Sea, marking a sorrowful conclusion to her complex artistic journey.

Kim Woo-jin (김우진; 金祐鎭)

The name Kim Woo-jin may also be rendered as Kim U-jin in English translations; however, I will refer to him as Kim Woo-jin for the duration of this episode. I will not discuss his interaction with Yun Sim-deok in detail, as this topic has been covered in both the previous and subsequent sections.

Kim Woo-jin (김우진) was a significant figure in Korean literature, recognized as a playwright and theatre theorist during the Japanese colonial era, with notable works including "Shipwreck" and "Wild Boar/Pig." He was also a poet, essayist, and dramatist, distinguished as the first professional literary critic in Korea. His contributions to literature, particularly the poem "Theory of Life and Death" (1926) and the play "Wild Pig" (1926), have garnered attention.

Despite his literary accomplishments, Kim's work remained largely unacknowledged until the late 1970s, with a posthumous publication in 1983. His deep understanding of Western literature and insightful engagement with Western philosophy have since been recognized as pivotal to his legacy.

Life and Career

Cho-seong (焦星), also known as Susan (水山), was born on September 19, 1897, in Jangseong-gun. He was the son of Seong-gyu (星圭), the governor of Jangseong County, and his lineage included a grandfather who served as a ceremonial official and landowner. After completing his elementary education in Mokpo, he relocated to Japan, where he attended Kumamoto Agricultural School and later enrolled in the preparatory course at Waseda University (早稲田大学), ultimately graduating from the English Literature Department in 1924.

From an early age, he aspired to be a poet and began composing poetry during his time at Kumamoto Agricultural School. His passion for the performing arts led him to establish the Theatre Research Group, Geukye Art Association, alongside peers such as Jo Myeong-hee (조명희) and Hong Hae-seong (홍해성) in 1920. In 1921, he founded the Dongwoohoe Touring Theatre Troupe, managing performance costs and directing productions, including a translation of Dunsany's one-act play, “The Splendid Gate.” After returning to Mokpo post-graduation, he served as president of Sangseong Hapmyeong Company while producing a significant body of work, including 48 poems, five plays, and approximately 20 critiques. However, personal and societal challenges culminated in his tragic suicide on August 4, 1926, when he jumped into the Genkai Sea with soprano singer Yun Sim-deok (윤심덕).

Waseda University students in 1916

He was raised in a conservative Confucian household, yet he became deeply engaged with Western modern philosophy. Influenced by thinkers such as Nietzsche and Marx, he developed a distinct ideological framework that embraced socialism in the wake of the Russian Revolution. This intellectual journey led him to resonate with the expressionism of Strindberg and the reformist theatrical ideas of Shaw, ultimately fostering a rejection of traditional artistic conventions.

The ideological underpinnings of his works and the circumstances surrounding his suicide warrant examination. His poetry, particularly in pieces like "Death," "Theory of Life and Death," and "Theory of Death," reflects a profound denial of reality and a call for reform. Similarly, his plays reveal an autobiographical narrative intertwined with contemporary societal struggles. Notably, "The Disillusionment of Poet Du-deok" illustrates the clash between traditional and modern ethics, while "Lee Yeong-nyeo" employs naturalistic techniques to portray the harsh realities faced by the impoverished in Mokpo. His notable works, "Shipwreck" and "Wild Boar," stand as pioneering examples of expressionism in Korean literature, showcasing avant-garde experimentation during a time dominated by melodrama.

This work is notably distinguished by its profound exploration of social reform ideas and its ethereal stylistic approach. The author described this piece as his 'march of life,' imbuing it with the qualities of a clinical analysis conducted by a progressive thinker.

Bust of Kim Woo-jin at Mokpo Literature Hall.

Among his numerous insightful critiques are notable essays such as “On the So-Called Modern Theatre,” “The Story of the Free Theatre,” “The Life of Saong,” and “On Western and American Playwrights.” His critique “Seeing Artificial Humans at the Tsukiji Small Theatre” exemplifies his theatrical analysis. Furthermore, in “I Encourage Creation,” he methodically presented expressionism as the most fitting creative approach for Korean writers seeking to transcend traditional norms. His candid perspective on literature is evident in essays like “Bury the Literature of Lee Gwang-su” and “Ego-Viewed Class Literature and Critics,” where he rigorously challenged enlightenment nationalism and humanitarian ideals. In “A Word to the Korean Literature World Without the Korean Language,” he advocated for the revitalization of the pure Korean language, drawing on Western examples, and called for the establishment of a new literary framework, the creation of dictionaries, and the preservation of oral traditions, folk songs, and children’s songs. He also emphasized the need for a distinct poetic rhythm, the translation of foreign literature into Korean, and the increased accessibility of newspapers and magazines.

He was an innovative playwright who transcended the conventional literary landscape of his era, which was mired in enlightened nationalism, humanitarianism, and sentimentalism. By effectively channelling the struggles of his time into his plays, he distinguished himself as the sole playwright to directly engage with expressionism in his artistic endeavours.

Furthermore, he is recognized as a critic who contributed significant theoretical insights to the contemporary theatre and literary scene, drawing from his vast knowledge and ground-breaking critical viewpoint. Additionally, he played a crucial role as a theatre activist, being the first to spearhead the new theatre movement.

The complete works of Woojin Kim, published in 3 volumes in 2000.

A bust commemorating Kim Woo-jin is situated in the Kim Woo-jin Hall, part of the Mokpo Literature Hall established by Mokpo City.

Following their deaths, little information has emerged about Kim Woo-jin and Yun Sim-deok. Unlike Yun, who remained unmarried, Kim had a family, with his son Bang Han (방한) becoming a professor at Seoul National University. Kim Woo-jin's grave, reportedly unmarked by a body, is believed to be on Molmoe Mountain in Muan-gun, Jeollanam-do. Mokpo City later inaugurated the Mokpo Literature Hall and the Kim Woo-jin Hall to celebrate his literary contributions, alongside local figures such as Park Hwa-seong (박화성), Cha Beom-seok (차범석), and Kim Hyeon (김현). In 2000, a three-volume collection of his works was published. The legacy of Yun Sim-deok, Kim's beloved, is preserved through a faded photograph and her haunting rendition of "Praise of Death," (사의찬미) which evokes a sense of nostalgia and blurs the lines between traditional ballads and contemporary music.

Love Life

What is love? - Love is a connection between a man and a woman who share mutual feelings and enjoy each other's company.

A scene from the 1991 film [Ode to Death] starring the late actor Lim Sung-min (left) and Jang Mi-hee. 배우 고(故) 임성민(왼쪽)과 장미희 주연의 영화 [사의 찬미]의 한 장면, 1991년 작품이다.

Modern Art Pioneers Sacrificed to Convention

Artistic sympathy that emerged from trials, a relationship that goes beyond a simple affair, a catalyst for free love and popular art, leading Koreans to modernity.

The term gained popularity in Korea during the 1910s, particularly after its mention in Cho Joong-hwan's (조중환) adapted novel, "Ssangokru," (쌍옥루) which was serialized in "Maeil Shinbo" (매일신보) in 1912. Prior to this, romantic relationships were typically arranged by parents during the Joseon Dynasty. The story of Gapdol and Gap-soon, who secretly met at a watermill, illustrates how such love was often frowned upon, causing embarrassment to families and communities.

Ssangokru: Cho Jung-hwan's translated novel book cover

The emergence of modern love challenged these traditional norms, allowing individuals to take centre stage in their romantic narratives. The 1920s marked a significant shift towards free love in Joseon, fuelled by the exchange of heartfelt letters. Young lovers, caught in the throes of passion, eagerly penned love letters day and night, eagerly awaiting responses. The popularity of guides on writing love letters soared, with many considering love an essential part of life.

This surge in correspondence also played a crucial role in developing the postal system, which saw a dramatic increase in letter exchanges from just 137 in its early days to an astonishing 70 million by 1925. However, the era also witnessed tragic consequences, as the number of suicides linked to unrequited love rose sharply, capturing public attention and making headlines, especially when involving well-known figures like Yun Sim-deok and Kim Woo-jin.

Why did stars and rich people throw themselves into the sea?

The protagonists of an impossible love story, Woojin Kim and Sim-deok Yoon (right). The two ended their lives by throwing themselves into the Genkai Sea together.

At 4 a.m. on August 4, 1926, the Tokuju Maru, a ferry departing from Shimonoseki, Japan, was en route to Busan, navigating past Tsushima Island. A porter on duty noticed that the door to first-class cabin number 3 was ajar, raising his suspicions about a potential passenger wandering on deck at such an early hour. Upon entering the cabin to investigate, he discovered a letter resting atop a bag, addressed to "Po-i," which prompted him to open it.

The contents of the letter expressed an apology and a request for the will to be mailed to a registered address. Accompanying the note was a 5-won bill, seemingly a gift, alongside a suicide note indicating a desire to return home. Alarmed by the implications, the porter rushed to inform the captain, declaring an emergency. The ferry was halted, and a search ensued both inside and outside the vessel, yet no sign of the passenger from cabin number 3 could be found. It appeared she had likely taken her own life, though the exact time and location of the act remained unknown.

The cabin was left with a woman's wallet, a man's gold watch, 160 won in cash, and various personal items. To ascertain the identity of the missing passenger, the captain referred to the passenger list. The records indicated two individuals: Kim Su-san, a 30-year-old male from Bukgyo-dong, Mokpo, and Yoon Su-seon, a 30-year-old female residing at 73 Iljeong-mok, Seodaemun-jeong, Gyeongseong.

Upon the Tokuju Maru's arrival in Busan, the captain promptly notified the authorities regarding the incident. The identities of the two individuals involved were quickly uncovered. The male was identified as Kim Woo-jin (김우진;金祐鎭, 1897-1926), the eldest son of the affluent Kim Seong-gyu from Mokpo, recognized for his contributions as a playwright and theatre critic. He completed his studies in the English Department at Waseda University in Japan in 1924 and subsequently took on the role of president at Sangseong Partnership Company, which oversaw the family's assets. In line with societal norms of the era, he married at a young age and had a son and a daughter.

The female involved was none other than Yun Sim-deok (윤심덕; 尹心悳, 1897-1926), celebrated as the premier soprano of Joseon. Hailing from Pyongyang, she graduated from the education department of Gyeongseong Girls’ High School and was chosen as a government-sponsored student to study at the Tokyo Music School, returning in 1923. Her exceptional talent as a vocalist garnered significant attention, leading to television appearances and album recordings that solidified her status as a prominent singer. Her life and career were closely followed by the public, making her a notable figure of her time.

The incident in the Genkai Sea quickly captured global attention, as the media eagerly reported on the scandal involving prominent figures. The intersection of celebrity and wealth consistently draws public fascination, particularly given that the man was married. This event marked a historical moment as it was the first recorded instance of a Korean committing suicide on a ferry due to romantic despair. By August 5, major newspapers, including [Maeil Shinbo], extensively covered the story, sustaining public interest. The release of Yun Sim-deok’s album by the Nitto Gramophone Company of Japan on August 29 further amplified the media frenzy surrounding the affair.

The intrigue surrounding the affair between Yun Sim-deok and Kim Woo-jin captivated public interest. Media narratives suggested a romantic connection between the two, yet the complexities of their situation were underscored by Kim's status as a married man with familial responsibilities. Their tragic decision to end their lives together reflected a profound sense of despair, complicating the notion of their relationship, which, while classified as an affair, was deeply influenced by the societal norms of their time.

The term "new women" referred to those who had received modern education, both locally and abroad, and who often found themselves in social circles with married men like Kim Woo-jin. During this period, early marriage was prevalent, with many young men marrying before pursuing further education abroad. Reports indicated that a significant portion of male high school students were already wed, leaving their families behind to continue their studies. As these men matured, their perspectives often shifted, leading them to question the marriages arranged by their parents and seek relationships with new women.

The case of Chang-sun illustrates the societal pressures of the time. At just fifteen, he was compelled to marry under traditional customs, a decision he accepted without question due to his youth. However, as he progressed through his education, his understanding of love and relationships evolved, prompting him to reject the notion of his marriage, which he perceived as devoid of affection or mutual understanding. This transformation highlights the broader cultural shifts occurring in the 1920s, as individuals began to challenge established norms regarding marriage and personal agency.

A young married man with a wife and children meets a new woman, an 'educated woman'

Yun Sim-deok's posthumous album [Ode to Death].

Park Jun-pyo, a prominent novelist of the 1920s and 1930s, explores the psychological turmoil of a young married man enamoured with another woman in his 1924 novel, *Fate*. The protagonist, Chang-soon, departs from his hometown to pursue a degree in Literature at Gyeongseong University, where he cultivates modern ideals. He rejects the arranged marriage to Jeong-hee, as dictated by his parents, and instead aspires to a romantic relationship with Yeong-sook, an English literature student. Upon his return home after graduation, Chang-soon grapples with the desire to leave behind the constraints of traditional marriage for a progressive family life with Yeong-sook, yet the prospect of divorce looms as a source of profound distress.

The internal conflict Chang-soon faces is exacerbated by societal expectations and familial opposition. He anticipates fierce resistance from both his family and in-laws, particularly given that his wife has borne him a child. The thought of the ensuing chaos fills him with dread, as he foresees the scorn and judgment from a society steeped in ignorance. This emotional burden weighs heavily on him, leading to feelings of guilt and sorrow for both his wife, who remains unaware of his true sentiments, and the innocent child who is oblivious to the turmoil surrounding their family.

The original novels typically mirrored the prevailing values and preferences of society. In Park Jun-pyo's work, [Fate], the protagonist ultimately envisions a life of liberated love but grapples with the weight of divorce, ultimately returning to the family awaiting him. This conclusion resonates with the sentiments of the public. Conversely, those who sought to dissolve early marriages in favour of a new romantic partner faced significant societal backlash, as such choices were met with considerable disapproval.

The concerns of Kim Woo-jin and Yun Sim-deok may have stemmed from this societal context. The name 'Su-san' (水山) found on the passenger list of the Tokuju-maru was a pseudonym for Kim Woo-jin, while 'Su-seon' (水仙) was a term he affectionately used for Yun Sim-deok, indicating her closeness to him. Their relationship began in 1921 during their studies in Tokyo, where they became acquainted through a theatre company formed by the Japanese students' association, with Kim Woo-jin directing and Yun Sim-deok performing vocal solos.

The tour conducted by the Dongwoohoe throughout Joseon proved to be highly successful, spanning 14 regions over a period of 20 days. The troupe received enthusiastic receptions at each location, with their performances of plays and lectures garnering positive feedback. Notably, Yun Sim-deok's solo performance stood out, capturing significant attention. Anticipation for her return to Korea as a trained female vocalist increased, reflecting a growing global interest in her artistry.

Kim Woo-jin developed feelings for a female peer of his age, characterized by his composed and gentle demeanour. In contrast, Yoon Sim-deok's vivacious and generous nature earned her the affectionate nickname 'Wal-nyeo.' She frequently visited Kim Woo-jin's boarding house in Tokyo, engaging in discussions about music and literature while sharing profound personal narratives. This exchange fostered a deep bond of trust and affection between them, transcending the conventional boundaries of a mere romantic affair.

In the summer of 1922, Yun Sim-deok completed her studies at the Tokyo Music School and began to earnestly pursue a career as a vocalist. The journey of pioneers is often fraught with challenges, particularly in the realm of vocal music, which was not yet widely recognized in Joseon. The prospects of sustaining a livelihood as a soprano were bleak. To support her in this formidable endeavour, Kim Woo-jin (김우진) extended an invitation to Yun Sim-deok (윤심덕) while she was in her hometown of Pyongyang. He was vacationing in Mokpo and proposed that she come to perform at a family concert.

The invitation from Kim Woo-jin included train tickets for Yun Sim-deok and her two younger siblings. Her sister, Yun Seong-deok, was studying piano at Ewha Haktang, while her brother, Yun Gi-seong, was pursuing vocal music at Yonhui College. Although the prospect of performing might have felt overwhelming, the familial context of the concert alleviated some of her anxiety. Accepting the invitation, Yun Sim-deok travelled to the residence of Mokpo's wealthiest individual, where she showcased both Western and vocal music. During this visit, she also had the opportunity to meet Kim Woo-jin's family, including his parents, siblings, wife, and children.

A perverse interest in new and unfamiliar stars

Photo 1 - Yun Sim-deok (front row, right, wearing white) during her time at Ueno Music School in Tokyo. Photo 2 – What Ueno Music School looks like now.

Yun Sim-deok returned to her studies in vocal music for an additional year before making her way back to Korea in May 1923, marking the beginning of her journey as a soprano. At that time, the landscape of female vocalists in Joseon was sparse, particularly following the departure of Im Bae-se to the United States. The concept of a soprano was largely unfamiliar to the public, resulting in limited recognition and audiences for her performances. Initially, she took on a part-time lecturing role at Gyeongseong Girls’ High School, biding her time for the opportunity to perform on a concert stage.

An opportunity soon presented itself, leading to Yun Sim-deok's debut on June 26 at the third anniversary concert of the Dong-A Women's Association, thus launching her career as a soprano. While Im Bae-se was noted for her "voice like a cuckoo," Yun Sim-deok (윤심덕) captivated audiences with her unique sound, described as "the sound of beads rolling on a jade tray." Her popularity surged, and she became a frequent performer in the Gyeongseong area, gracing the stage three to four times a month. She received accolades such as "a first-class vocalist who intoxicates audiences" and was celebrated as "Joseon's best vocal group."

Despite the nature of the event being a concert, the compensation she received was minimal. Yun Sim-deok's financial circumstances were deteriorating, particularly after her parents relocated from Pyongyang to Gyeongseong in early 1924, merging their household with hers. This shift placed the burden of supporting her family, including her younger siblings, squarely on her shoulders. Her earnings from performances were insufficient for this responsibility, prompting her to seek additional income through private tutoring, yet the demands proved overwhelming.

Compounding her struggles was the negative scrutiny she faced from the public. Critics targeted her vibrant demeanour and physical appearance, expressing discomfort with her tall and slender figure. As a figure of novelty, Yun Sim-deok encountered resistance from a society that often recoils from the unfamiliar. With her rising fame came an increase in gossip and personal attacks, illustrating the paradox of public admiration intertwined with harsh judgment.

Yun Sim-deok's narrative of romantic freedom soon faced significant scrutiny. Her involvement with composer Hong Nan-pa, the rejection of musician Chae Dong-seon's affections, and the tragic demise of writer Park Jeong-sik due to unrequited love fuelled a torrent of gossip. In an era when even unfounded rumours were readily disseminated by the press, the escalating scandal tarnished the public perception of female vocalists, marking the onset of a societal witch hunt against them.

Amidst the turmoil, Kim Woo-jin emerged as a source of solace for Yun Sim-deok. A graduate of Waseda University’s English Literature Department in the summer of 1924, he returned to his hometown of Mokpo with aspirations to transcend traditional literature and establish Western modern drama in Joseon. However, his ambitions were met with resistance from his father, Kim Seong-gyu (김성규) , a prominent figure who had held various magistrate positions and amassed considerable wealth, expecting his son to inherit the family legacy.

Conforming to his parents' expectations, Kim Woo-jin assumed the presidency of Sangseong Partnership Company, which managed the family's assets. While others may have envied his position, he found it stifling. His wife, the daughter of a Confucian scholar, struggled to comprehend his desire to abandon the family business for a career in theatre, leaving him increasingly isolated. This emotional distance intensified his yearning for Yun Sim-deok, as their relationship flourished amidst the challenges they faced, rooted in a shared artistic vision and a mutual rejection of societal constraints.

Art and love served as a revitalizing force in their otherwise desolate lives, yet they remained powerless against the rigid traditions of Joseon, a society deeply entrenched in its customs, particularly regarding foreigners. The more they endeavoured to resist external influences, the more they found themselves ensnared by the harsh realities that plagued the early proponents of modern art, who faced relentless challenges from all directions.

In early 1925, it was rumoured that Yun Sim-deok had become the mistress of the affluent Lee Yong-mun (이용문) from Gyeongseong. Her visits to his residence, ostensibly for financial assistance to support her brother Yun Gi-seong's (윤기성) education in the United States, led to scandalous gossip. The rumours proliferated rapidly, with the elite mocking her, claiming she masqueraded as an artist while compromising her integrity for monetary gain. They suggested that wealth blurred the lines between a wife and a concubine, reducing her to a mere servant who performed for the entertainment of wealthy patrons.

Critics condemned Yun's recent behaviour, asserting that regardless of one's profession—be it artist, entrepreneur, or homemaker—one should uphold a respectable image. They urged her to embrace a virtuous life, especially with whispers of her potential departure abroad. The sentiment expressed in the publication 'On the Yun Sim-deok Incident' in March 1925 reflected a broader societal expectation that her artistic pursuits should not come at the cost of her dignity and reputation.

The rain shower is currently best avoided. Yun Sim-deok, wrongfully accused of witchcraft, embarked on a solitary journey to Harbin, where Pastor Bae Hyeong-sik, a figure she had admired since childhood, was engaged in missionary work and the independence movement. For six months, she severed all ties and lived in seclusion at Pastor Bae’s residence. It was only upon receiving a telegram informing her of her older sister Yun Sim-seong’s husband’s death that she decided to return to Gyeongseong.

Resuming her activities as a vocalist proved challenging. Yun Sim-deok participated in a radio broadcast being trailed by the Post Office of the Government-General, where she sang, recited poetry, and hosted segments, despite the fact that Korea's first Gyeongseong Broadcasting Station had yet to officially launch. Additionally, she received an invitation to record a gramophone record featuring popular songs. Setting aside her pride as a vocalist trained abroad with government support, Yun Sim-deok embraced the role of a popular singer, a position that had previously been regarded with disdain.

Hurt by the scandal, he tried to become a stage actor

The Genkai Sea as seen from Nagoya Castle, Japan.

During the early 20th century, gisaeng were prominent figures in the entertainment industry, engaging in television appearances and album recordings. The establishment of the Gyeongseong Broadcasting Station in February 1927 marked a significant development, as it initially employed around 100 gisaengs, thereby laying a crucial foundation for the broadcasting landscape. The Japan Gramophone Company released the first album featuring popular songs in 1925, with gisaengs like Kim San-wol (김산월) and Do Wol-saek (도월색) traveling to Japan to record notable tracks such as “This Windy World,” “Sided Bangcho,” and “Jang Han-mong-ga.” However, some gisaengs resisted the allure of fame, expressing their reluctance to participate in what they perceived as a demeaning spectacle.

The cultural landscape underwent a radical shift in 1926 when Yun Sim-deok joined the Towolhoe Theatre Company as an actress, following a suggestion from Kim Woo-jin. His critique, influenced by Strindberg, posited that expressionism aptly captured the dire social realities of Joseon, advocating for a new theatrical movement focused on smaller venues. By aligning herself with the Towolhoe Theatre Company, which championed modern theatre, Yun Sim-deok aimed to contribute to the evolution of Joseon’s artistic expression through innovative performances that resonated with contemporary societal issues.

Despite facing vehement opposition from her family, who viewed acting as a disreputable profession, Yun Sim-deok remained resolute in her aspirations. She left her home and took refuge in a Japanese inn located in Samjeong-mok, Hwanggeumjeong (Euljiro), where she dedicated herself to honing her acting skills. In a statement to the press, she described her journey as "a bold step to become something in a corner of the newly built Joseon Art Hall with all her might," reflecting her commitment to pursuing her artistic ambitions despite societal constraints.

The actress faced significant challenges throughout her career. The adaptation of the American film "East Road," titled "Dongdo," failed to resonate with audiences, primarily due to Yun Sim-deok's insufficient acting abilities. Although her vocal talent was evident in the opera "Carmen," the production struggled to gain popularity, as it overly depended on her performance. Additionally, the Towolhoe, which sought commercial success, encountered internal conflicts that ultimately led to its disbandment shortly after its release.

The disappointment of her ambitious endeavours, which included sacrificing her familial ties, plunged her into a state of despair. After achieving fame as a singer, she faced renewed criticism stemming from her unsuccessful theatrical pursuits. Yoon Sim-deok shared her anguish with Kim Woo-jin, who felt a profound sense of helplessness and guilt for her suffering, stemming from his conventional advice. This overwhelming burden of responsibility and self-reproach culminated in a tragic decision, as reflected in Kim Woo-jin’s poignant final poem.

Life running through the vast wilderness… 'Praise of Death' syndrome

The paradox of human sentiment is evident in the way individuals often express disdain for the living, only to venerate them posthumously, as if anticipating a resurrection. This phenomenon was notably illustrated in the Genkai-tan Jeongsa incident, where public criticism of Yun Sim-deok ultimately contributed to her demise, yet the same public later mourned her loss and celebrated her legacy through music.

On July 17, 1926, Yun Sim-deok departed from Gyeongseong en route to Osaka, where she intended to record an album with the Nitto Gramophone Company. Accompanied by her younger sister, Yun Seong-deok, who was preparing for studies in the United States, they swiftly progressed through the recording sessions. Upon completion, Yun Sim-deok reached out to Kim Woo-jin in Tokyo via telegram, inviting him to join her in Osaka, marking a moment where both individuals appeared to be reconciling their lives.

Kim Woo-jin completed his play 'Wild Pig,' inspired by Donghak, after finishing 'The Disillusionment of Poet Du-deok' and 'The Shipwreck.' He had previously composed a will intended for his wife. Meanwhile, Yun Sim-deok crafted the lyrics for 'Hymn of Death,' set to Ivanovich's instrumental music. Despite the president of Nitto Records expressing concerns about the song's sentimental nature, additional recording took place at her persistent request. It is likely that Yun Sim-deok intended 'Hymn of Death' as a form of farewell.

The lyrics reflect a profound existential inquiry: "Life running through the vast wilderness / What are you looking for? / No matter this world or that, this whole life / I hate money, fame, and love." This introspective sentiment underscores the emotional weight of her work, suggesting a deeper commentary on the human condition and societal values.

On August 4, 1926, the Genkai Sea incident captured significant media attention, leading to the release of Yun Sim-deok's posthumous album on August 29. The timing was remarkable, as the album, titled [Ode to Death], resonated with the dramatic events surrounding it, resulting in sales of 100,000 copies—an unprecedented figure at the time. This phenomenon contributed to the establishment of a domestic record market, with phonographs selling rapidly despite their high cost, prompting the opening of stores by Viktor Records and Columbia in Seoul the following year.

The enduring legacy of Yun Sim-deok and Kim Woo-jin remains significant, even as time progresses. Years later, reports surfaced of a sighting of the pair in Rome, prompting Kim Woo-jin’s family to seek validation from the Governor-General regarding the credibility of these claims. In contrast, Yun Sim-deok’s family exhibited a somewhat different response, as articulated by her younger sister, Yun Seong-deok, who was abroad in the United States via Japan during the events in question.

Yun Seong-deok asserted that her family had never declared her sister deceased, attributing such notions to societal gossip. She expressed confusion over the preoccupation with the living or the dead, emphasizing that the judgments of Joseon society often oscillated between praise and criticism of others. This perspective highlights the societal tendency to speculate on the fates of individuals, particularly those in the public eye.

The accounts of sightings in Rome may reflect a romanticized narrative rather than reality, suggesting that Yun Sim-deok (윤심덕) and Kim Woo-jin (김우진) may have perished in the Genkai Sea. While their love was genuine, it was their shared artistic vision that ultimately led to their tragic end. The cultural context of 1926, marked by Yun Sim-deok’s poignant song "Ode to Death" and the screening of Na Un-gyu’s film "Arirang," illustrates the intersection of modernity and popular art in Korea, underscoring the emotional turmoil experienced by these two figures in the realm of modern art.

The next episode will explore the continuation of Yun Sim-deok's narrative, focusing on the events following her death and the impact of her music.

[honeydixonn]

Back to Friends, Myung Gi

b. one, university

2189 words

The clatter of heels against steel rungs echoed faintly as Nari stepped onto the bus. Her bag dangled precariously from her shoulder, stuffed with books and her laptop, making her balance slightly unsteady. She was late today—an unusual occurrence for her. Normally, she made it a point to catch the earlier shuttle bus from Ewha Women's University, but a last-minute meeting with her professor had pushed her schedule into chaos.

Her thoughts raced as she quickly scanned the half-full bus for a seat. She could feel the impatient stares of other passengers behind her as they waited to board. Just as she spotted an open seat near the back, her foot caught on something soft yet unyielding—a bag.

"Oh!" she gasped, stumbling forward. Her arms flailed for balance as her tote bag slipped off her shoulder, its contents threatening to spill.

"Are you okay?" A warm voice broke through the din of her embarrassment. She looked up to see a young man—her age, maybe a little older—staring at her with concern. His dark eyes were sharp yet kind, framed by a thick fringe of lashes. He was tall, his broad shoulders slightly hunched as he leaned forward to grab her arm.

"I—yeah, sorry. I didn't see..." Her words trailed off as she glanced down and realized she had tripped over his navy Yonsei University backpack.

"Ah, that's my fault. I shouldn't have left it there." He bent down quickly to move the offending item out of the aisle. "You're from Ewha, right?" he asked, gesturing to the small embroidered patch on her tote bag.

Nari nodded, feeling a flush of embarrassment creep up her neck. "Yeah. Um, thanks." She adjusted her bag and moved to sit in the now-vacant seat across from him, her pulse still racing from the near fall.

"I'm Myung-Gi," he said, flashing a lopsided smile. "Yonsei. We're practically neighbors."

"Ha Nari," she replied, offering a small, awkward smile in return. "And, yeah, I guess we are."

Their conversation was brief, the hum of the bus engine filling the silences between their words. But something about the way Myung-Gi smiled lingered in Nari's mind long after she got off the bus.

The second time they met, it was raining. Nari was standing at the bus stop, clutching her umbrella tightly as gusts of wind threatened to flip it inside out. She was muttering curses under her breath when she heard someone laugh beside her.

"Seems like umbrellas hate this weather as much as we do," Myung-Gi said, holding his own sturdy black umbrella with ease.

Nari looked up, startled, and recognized him immediately. "Oh, hey," she said, her cheeks flushing as she tried to adjust her rebellious umbrella. "You're the guy with the Yonsei bag."

"And you're the girl who almost faceplanted because of it," he teased lightly, his grin widening.

"Thanks for the reminder," she muttered, though there was a faint smile tugging at her lips.

They boarded the bus together, this time sitting side by side as the rain lashed against the windows. The conversation flowed more naturally this time—Nari told him about her media and communications major at Ewha, and Myung-Gi shared that he was studying business at Yonsei.

"It's funny," he said, leaning slightly toward her, "Yonsei and Ewha students take this bus all the time, but I feel like I never notice anyone until they trip over my stuff."

"That's because you're probably always staring at your phone," Nari quipped, catching him off guard.

"You might be right," he admitted with a chuckle.

When they reached her stop, she gave him a small wave before stepping off the bus. Myung-Gi watched her go, a strange warmth spreading through his chest. He didn't know what it was about her, but he found himself hoping they'd run into each other again.

Over the next few weeks, they did.

At first, their encounters were purely coincidental. Nari would board the bus and find Myung-Gi already seated, his Yonsei bag tucked neatly under his seat this time. He'd wave her over, and they'd spend the ride talking about everything and nothing—professors, campus events, their favorite coffee shops.

Soon, it became routine. Nari found herself looking forward to their conversations, and Myung-Gi made a point of catching the same bus whenever he could.

One particularly cold morning, Nari boarded the bus to find him holding two cups of steaming coffee.

"For you," he said, handing her one. "You look like you need it."

She blinked at him in surprise, her frozen fingers wrapping gratefully around the warm cup. "Thanks. How'd you know I like Americano?"

"I didn't," he admitted with a grin. "But it's a safe guess, right?"

Nari laughed softly, the sound sending a small jolt through Myung-Gi's chest.

As their friendship deepened, Myung-Gi found himself noticing things about her that she probably didn't realize. The way her nose crinkled when she laughed too hard. The way she absentmindedly twirled her pen between her fingers when she was deep in thought.

He started looking forward to the moments when their shoulders would brush as they sat together on the bus. But he never let himself hope for more. She saw him as a friend, and he didn't want to ruin that.

One day, as the bus neared Yonsei's stop, Nari turned to him with a bright smile.

"You know," she said, "I used to think this bus ride was the most boring part of my day. But now it's kind of my favorite."

Myung-Gi's heart skipped a beat, but he kept his expression neutral. "Same here," he said casually, though his grip on his bag tightened.

He didn't say what he really wanted to—that it wasn't the bus ride itself he looked forward to, but her.

Their friendship continued to grow, but Myung-Gi's feelings remained unspoken. He cherished every moment they spent together, even as it became harder to keep his emotions in check. He wanted to tell her how he felt, but the fear of losing her kept his words locked inside.

As he watched her laugh at one of his stupid jokes, her hair falling into her eyes, he wondered if she'd ever notice the way he looked at her. If she'd ever feel the same.

But for now, he was content to be by her side, even if it meant hiding his heart. Because as long as she was smiling, Myung-Gi felt like he could endure anything.

The seasons changed, and with them, the dynamic between Myung-Gi and Nari deepened in ways that neither fully acknowledged but both felt. The long bus rides became more than just a commute—they were a sanctuary where the weight of their academic pressures and personal lives melted away in shared laughter and quiet conversation.

One winter evening, as the city streets glistened with fresh snow, Nari boarded the bus with a scarf wrapped tightly around her neck. She spotted Myung-Gi instantly; he was sitting near the back, a seat saved for her with his bag on it. His face lit up when he saw her, and he waved her over.

"You're late," he teased, pulling his bag into his lap to make room for her.

"Don't even get me started," Nari groaned, plopping down beside him. "My professor decided to hold an impromptu lecture on top of our already excruciatingly long seminar."

"Well, you're here now." He handed her a small cup from the convenience store. "I got you hot chocolate this time. Figured you needed something sweet after a day like that."

Nari's eyes softened as she accepted the cup. "You're too good to me, Myung-Gi," she said, her tone light but sincere.

If only you knew, he thought, his chest tightening as he watched her take a sip. She had a way of saying things that unknowingly stirred something in him, something he couldn't quite name but felt like a dull ache behind his ribs.

"Snow's nice, huh?" she said, pulling him out of his thoughts.

He followed her gaze out the window, where snowflakes drifted lazily under the glow of streetlights. "Yeah," he agreed. "It makes everything feel... softer."

She laughed softly. "You're surprisingly poetic."

"I have my moments," he said with a grin, though his heart was pounding from the sound of her laughter.

As spring approached, their paths crossed more frequently outside of the bus rides. Once, while wandering the streets near Yonsei to pick up a book he needed, Myung-Gi spotted Nari sitting outside a café, her nose buried in a novel. She looked so engrossed that he almost walked away, not wanting to disturb her.

But as if sensing his presence, she looked up and caught his eye. A smile broke across her face, and she waved him over.

"Fancy meeting you here," she said as he sat across from her.

"Small world," he replied, trying to ignore the heat creeping up his neck.

It became a regular occurrence after that. They started meeting for coffee or lunch whenever their schedules aligned, their conversations growing more personal with each encounter. Nari opened up about her struggles with balancing academics and family expectations, while Myung-Gi shared stories about his part-time job and the mounting pressure to succeed in his business program.

"You know," she said one day, stirring the foam in her latte, "you're the only person I feel like I can really talk to sometimes."

Her words hit him like a punch to the gut—not because they hurt, but because they carried a weight he wasn't sure how to handle. He wanted to tell her that she wasn't just someone to talk to for him. She was the person he looked forward to seeing every day, the person who made his world feel brighter even on the darkest days.

Instead, he simply smiled and said, "Same here."

It was during finals week when something shifted. Both of them were exhausted, their faces pale and their eyes shadowed from sleepless nights. Myung-Gi decided to surprise her by waiting at the Ewha campus shuttle stop, knowing she'd have to take a bus home eventually.

When she finally appeared, her steps were sluggish, and her shoulders slumped under the weight of her bag. But when she saw him standing there, her expression softened.

"You're waiting for me?" she asked, her voice tinged with disbelief.

"Of course," he said, trying to sound casual. "Thought you might need some company."

As they boarded the bus together, Nari leaned her head against the window, her exhaustion evident. Myung-Gi hesitated for a moment before reaching over and gently pulling her head onto his shoulder.

She tensed for a moment, but then she relaxed, letting out a soft sigh. "You're too good to me, Myung-Gi."

His chest ached at her words. He wanted to tell her that he didn't mind—that he'd always want to be there for her. But instead, he simply said, "You deserve it."

Over time, their connection grew, but so did the distance Myung-Gi felt between his feelings and reality. There were moments when he thought she might feel the same—the way her gaze lingered on him a little longer than necessary, the way she laughed a little too hard at his jokes. But then she'd talk about a guy she liked in passing, and his hopes would come crashing down.

One evening, as they walked together after grabbing coffee, Nari turned to him with a curious look. "You're so good at reading people," she said. "Why are you still single?"

The question caught him off guard, and he laughed nervously. "I don't know. Guess I'm just waiting for the right person."

She tilted her head, studying him. "Well, whoever she is, she's lucky."

Myung-Gi swallowed the lump in his throat. He wanted to say, It's you. You're the one I've been waiting for. But the words refused to come out.

Months turned into years, and their friendship remained a constant in Myung-Gi's life. But as graduation approached, the reality of their impending separation loomed over him like a dark cloud. He didn't know if he'd ever have the courage to tell her how he felt, but the thought of losing her completely terrified him.

On their last bus ride together before graduation, Nari turned to him with a bittersweet smile. "I'm going to miss this," she said softly.

"Me too," he admitted, his voice thick with emotion.

They sat in silence for a moment, the hum of the engine filling the space between them. Myung-Gi glanced at her, memorizing every detail of her face—the curve of her smile, the way her hair fell over her shoulders, the light in her eyes.

He wanted to say something, to tell her everything he'd kept hidden for so long. But instead, he reached over and squeezed her hand, hoping she'd somehow understand what he couldn't bring himself to say.

And maybe, just maybe, she did.

[yuseirra]

(I was here!) SNSD's "Into the New World"'s become a pretty symbolic song in k-protests-

After the students in Ewha Womans University(the university is named that because it started out with a single student) sang it in a protest calling out president Park's corruptions in 2016. This was one of the event that eventually led to her impeachment.

The lyrics are touching and really fitting to begin with, so it's become a new tradition!!

I mean, it's no wonder with the lyrics being:

I want to send you my depressing times

But you will only hear it after it all scatters

Feel my moving heart with your eyes closed

My looks and eyes are toward you

Don't wait for any special miracle

Our rough path in front of us

Might be an unknown future and challenge

But we can’t give up

Please protect me with unconditional love

Even for my broken heart

No need for any words inside the attention

The time has stopped

I love you, forever with this emotion

The end of wandering which I was dreaming for

Goodbye to sadness

Being repeated in this world

I'll follow the dim light

Shining within countless unknown paths

Lets be together forever

I met my world again

In this dark night

Your soft breathe

Is surrounding me warmly

I'll share you all of my emotions

I love you, forever with this emotion (With this)

The end of wandering which I was dreaming for

Goodbye to sadness (Woah, yeah)

Being repeated in this world

Just the thought of you makes me stronger (Ooh, ooh-ooh-ooh)

Help me so that I don't cry (Help me)

Lets be together forever

We have met again, our world

[friendswithclay]

“Black-brown glazed stoneware bottles” Goryeo 12th-13thc., Ewha Womans University Museum

Instagram/friendswithclay

[dosoguan]

Esercizi a tutto spiano 🛣️ ▶ per il Coreano 🇰🇷 di livello A1 - A2 ! 🎯*Assimila ⚙️ e Verifica quanto Appreso✍️ ↪ Nello studio della Grammatica del Livello Beginner ✅ ! Esercitati con una Moltitudine di Test 📈 .. ●

->

🔴 Graduated Exercises for the Elementary Level of the Korean Language ▷ View and Use Naturally the Korean Sentence Patterns 📌in Context! 🌟 A Lot Of Study Material 📖 ✍️ for Beginners ✎💬 …

[atzjieun]

Can I learn more about campus crush in the iceberg pls?

of course!

campus crush: in 2022, an anonymous netizen posted to an online forum describing their experience with a girl in ewha university. they described the girl as a quiet but smart student in the business department who many students had a crush on. she would often receive notes and phone numbers, but always declined any confessions or offers to study together. apparently, she was so popular that some students from other universities would come to visit just to see her.

more students came forward with their own experiences, and netizens were able to identify “ewha’s campus crush” as jieun after some people posted photos of her in class. this was how the public found out that jieun was even in university, and jieun confirmed that she had been taking business classes at ewha a few days later.

iceberg ask game

[nct-kiss]

KIM HANUEL

( face claim: ningning of aespa ) ( voice claim: iu )

Stage Name: Hanuel

Birth Name: Kim Hanuel

Nationality: Korean

Position: Main Vocalist

Birthday: February 24th, 2000

Zodiac Sign: Pisces

Height: 160 cm (5'2'')

Weight: 49 kg (108 lbs)

Blood Type: O

Representative Emoji: 🐮

Instagram: k.hansky

HANUEL FACTS

She was born in Busan, South Korea.

She was raised by her grandparents in Hadong-gun.

She has two older sisters.

Her English name is Skylar.

Education: Hadong Elementary School and School Of Performing Arts.

Nicknamed: Skies, Skis, Hanhan, Nuellie, Sky, Cowski.

Motto: Be the change you wish to see in the world.

She's currently pursing an undergraduate degree in Cyber Security at Ewha Woman's University.

She said in an interview that her grandparents were very against her being an idol.

She has an obesseion with Mike Wazowski from Monsters Inc.

Her grandparents filed a missing person's report when she went to audition in Seoul without telling anyone.

She used to work at a chicken shop while auditioning for companies.

She said the hardest time of her life was when her grandmother refused to speak to her for months when she went to Seoul, though she says they are on good terms now.

She has two pet cows called Dim and Sum, who she's raised since they were born.

The KISS members say that Hanuel is the hardest worker amongst them.

She's voted the most likely to get up earliest in the morning.

Haechan once bribed Hanuel with pizza into being friends with him again after he made her mad as trainees.

Jaemin claims that Haechan and Hanuel used to fight by singing and trying to make each other go deaf by singing high notes during SM ROOKIES.

Her favorite colour is sage green and sky blue.

She bought her grandparents a karaoke machine with her first pay check.

The KISS members said Hanuel's childhood room is very pink and cute.

She can speak Korean and English.

Her Favorite artist is Ailee and Little Mix.

She said she learned English through the cartoon show 'Winx'.

She has a birth mark under her ear that looks like a star.

She said that she likes resting and watching Studio Ghilbi movies in her free time.

She has a cow tattoo on her wrist that her grandfather had drawn for her.

She made her solo debut on April 1st 2020, with the single 'Like Water'.

She was gifted her dream car ( Mazda MX-5 Miata) by the KISS members when she finally got her license in 2020.

Hanuel and Jaemin got into a dating scandal in 2018 and SM Ent. denied the allegations until late 2021 when they got into a second scandal and they finally issued a statement confirming the relationship.

Jaemin and Hanuel moved out of the dorms together and started living together along with their pet cats, Luna, Luke and Lucy.

She loves fruit juices, especially mango and pineapple.

taglist: @mosviqu @colourlikechampagne

[berealit]

April 2, 2024.

Descansou sobre a mesa de estudos uma xícara branca e grande, cheia até em cima com chá preparado com folhas de maracujá e hortelã. Seu final de semana havia sido agitado, sua segunda-feira havia sido como o mar que visitara no final de semana e quanto a sua terça-feira, exaustiva; havia se dado conta de que a semana realmente havia começado. Pegou seu celular e, como de praxe, deu play no que gostaria de ouvir. Estava presa no clássico R&B dos anos 90, então começaria o monólogo do dia ao som de Weak do grupo SWV. Colocou um novo microSD no gravador e deu início ao seu diário falado.

— Gravação do dia dois de abril de dois mil e vinte e quatro.

Respirou fundo, bebendo um farto gole do chá antes de prosseguir, apoiou as pernas sobre a mesa de estudos, se recostando na cadeira.

— Os últimos dias foram encantadores. Estar em Busan em dois mil e vinte e três não costumava ser a melhor coisa do mundo, apesar de amar viver com minha avó, me acostumei a morar longe e para mim, era como se aquele não fosse meu lar ainda... Entretanto, pisar lá esse final de semana foi como respirar ar puro e me trouxe paz, acho que precisava de um colo também e, estar com minha avó me trouxe essa privilegiada sensação.

Balançou seus pés pensativa, bebeu mais um gole do chá, que estava sem qualquer adição de açúcar.

— Minha vó amou as meninas e disse que ganhou mais cinco netas. Devo admitir que fiquei com um pouco de ciúmes. Cozinhamos juntas, passeamos, fomos a praia, vimos algumas fotos de quando eu era criança, enfim... Nossa programação foi bem enriquecida. Posso dizer que foi um presente de aniversário antecipado com uma bagagem emocional gigantesca.

Franziu o cenho por alguns segundos, olhando a tela do celular para se lembrar de qual música se tratava.

— Oh! Waterfalls, TLC. R&B dos anos 90 realmente está com tudo por aqui. Continuando! Não lembro onde parei.

Olhou para o teto, ajeitando os óculos em seu rosto. Semicerrou os olhos e fixou o olhar na parede.

— Enfim! Estou pensando em comprar um carro. Talvez eu esteja dando passos maiores do que minhas pernas, financiar um carro agora é arriscado, não seria caso eu não fosse tão orgulhosa e aceitasse um de meus tios como presente de vinte e dois anos. Mas eu queria, de verdade, conquistar cada pequenino passo da minha vida sozinha, sem nenhum empurrão. Orgulho demais da minha parte ou apenas um desejo interno natural? Fica o questionamento.

Desceu as pernas da mesa para se levantar da cadeira e alongar-se, estava sentada há alguns minutos e sequer havia conseguido revisar conteúdos necessários. Esticou os braços para cima e fechou os olhos, estalando a própria coluna.

— Woaaah! Amo isso. Acho que não tenho muito para contar no momento. Apenas me sinto feliz, revigorada e cheia de pensamentos pensantes. Meta semanal? Ir a um karaokê novamente, comemorar meu aniversário sem fugir dos parabéns, tomar coragem de terminar meu dorama favorito que está na reta final, colocar meus estudos em dia e... Sei lá. Dançar na chuva?! Eu gostaria de dançar na chuva. E tirar minha maquiagem, não posso dormir assim. Acho que é isso por hoje, meu caro gravador. Fico por aqui!

Fez um sinal de continência, como um soldado, seguido de uma piscadela que absolutamente ninguém iria ver. Desligou a gravação, finalizando-a ao som de Creep, também de TLC. Agora, faria sua rotina noturna de sempre, remoção de maquiagem, skincare e um bom banho quente antes de cair na cama para sentir os efeitos proporcionados pelo chá.

ⓒ 𝟤𝟣𝗌𝗍 𝖢𝖤𝖭𝖳𝖴𝖱𝖸 𝖦𝖨𝖱𝖫'𝗌 𝖵𝖮𝖨𝖢𝖤 𝖱𝖤𝖢 ● ──┈ 고부미의 마음속에 무슨 일이 있는 걸까요? 한번 알아봅시다!고부미 씨의 머릿속에 무슨 일이 일어나고 있는지 생각해 본 적이 있나요? 한번 알아봅시다!~~ ㅋㅋㅋ

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