Often found at theaters and museums, Kwon Mee-yoo has covered a wide range of cultural fields from K-pop and dramas to theater and fine art for over a decade. Now as K-Culture Desk editor, she tries to connect Korean culture with global readers through fresh perspectives.
Korean's double standards on race and representation
By Kwon Mee-yoo
The complexities of race and representation in Korea's arts and culture reveal an unsettling duality in attitudes toward diversity and inclusion, often justified by the nation's long history as an ethnically homogeneous society.
This contradiction is starkly illustrated by Koreans' divergent reactions to Disney's recent casting decisions: the controversy surrounding the casting of a Black actress as Ariel in the live-action adaptation of "The Little Mermaid" and the enthusiastic reception of Korean actor Lee Jung-jae starring as a Jedi master in the recent series "Star Wars: The Acolyte."
When Disney announced that Halle Bailey, a talented young Black actress, would portray Ariel, it sparked a firestorm of criticism and debate in Korea. The backlash was fierce, with many internet users arguing that Ariel's portrayal should remain true to the 1989 Disney adaptation of the Hans Christian Andersen tale, which depicted the animated character as ethnically white with red hair.
More disturbingly, the reaction extended beyond mere casting preferences and veered into overt racism. Derogatory and hurtful language was rampant in online communities and film-related YouTube channels, where they criticized Bailey's "non-white" features, calling her "ugly" and comparing her to a "deep-sea fish."
Some labeled the casting choice as forced “political correctness,” a disruption of cherished childhood memories and an imposition of progressive values on a classic tale. It revealed a resistance to racial diversity when it clashes with traditional imagery, revealing deep-seated biases in Korea.
The reaction, along with the movie's other features, contributed to its poor performance at the Korean box office, attracting only about 640,000 viewers.
In contrast, the news of "Squid Game" star Lee being cast as a Jedi master in the hit franchise "Star Wars: The Acolyte" was met with widespread acclaim and pride in Korea.
Set toward the end of the High Republic era, about 100 years before the events of "Star Wars: Episode I - The Phantom Menace," Lee’s role is seen as a significant expansion of the Star Wars universe, bringing a Jedi of Asian appearance to the forefront.
The series also breaks from tradition by centering on female characters, twin sisters Osha and May, and incorporating iconic fight scenes reminiscent of Hong Kong martial arts movies. This diversity was viewed positively, aligning with the country's growing cultural influence and the talent of its actors on the world stage. Korean's enthusiasm for Lee's role highlights a selective embrace of diversity that aligns with national pride and global recognition.
While Koreans celebrated Lee's casting, he faced racism from some Western audiences, prompting the show's director, Leslye Headland, to reaffirm her commitment to inclusivity. In an interview with The New York Times, Headland said, "I stand by my empathy for ‘Star Wars’ fans ... But I want to be clear. Anyone who engages in bigotry, racism or hate speech ... I don’t consider a fan."
This issue extends beyond Korea as Disney faces a backlash globally for what some describe as promoting political correctness and modern liberal views in its productions. On the other hand, many praise these efforts, viewing Disney's recent moves as a positive step toward giving minorities more visibility and opportunities in mainstream media.
These contrasting reactions reflect a broader inconsistency within Korean society regarding political correctness and racial inclusivity. While there is an openness to, and even celebration of, Asian representation in Western media, resistance surfaces when it comes to representation that challenges traditional racial or gender depictions. This dual attitude reveals an underlying discomfort with diversity.
As Korea's influence on the global cultural stage grows, it faces the challenge of addressing these deep-seated biases. True inclusivity requires more than selective acceptance. It demands a genuine embrace of diversity in all its forms. Only then can Korea fully participate in and contribute to the global movement toward greater representation and equality in the arts and beyond.
Kwon Mee-yoo is editor of the K-Culture Desk at The Korea Times.