InterviewKOFICE chief envisions Korea as Asia’s cultural hub

Park Chang-sik, president of Korea Foundation for International Cultural Exchange (KOFICE), poses prior to an interview with The Korea Times at KOFICE headquarters in Yeongdeungpo District, Seoul, July 30. Korea Times photo by Choi Won-suk

Park Chang-sik, president of the Korea Foundation for International Cultural Exchange (KOFICE), witnessed the spread of Korean content around the world firsthand.

As a former television producer, he made “Years of Upheaval” (1992) and “Sandglass” (1995), two of the most popular drama series broadcast in Korea in the 1990s. He also led renowned production company Kimjonghak Production when it produced “Lee San, Wind of the Palace” (2007), a historical drama starring Lee Seo-jin and Han Ji-min. All three programs were exported to other countries for viewing.

Of the 50 or so dramas Park had his hands on, many found audiences outside Korea.

“To be honest, the reason we first started exporting content was out of necessity. It was around the late 1990s that we began selling dramas to Japan and Taiwan. Back then, we often wondered, ‘Why is this even working?’ But starting in the 2000s, K-content began to gain real attention, and that’s how today’s ‘K’ was born,” he said in a recent interview with The Korea Times at the KOFICE headquarters in Yeongdeungpo District, Seoul.

Leading the charge in the 2000s was “Winter Sonata” (2002) starring Bae Yong-joon, which paved the way for Korean content abroad and winning the hearts of audiences outside Korea.

Following “Winter Sonata,” “Jewel in the Palace” (2003), “Coffee Prince” (2007) and “Boys Over Flowers” (2009) made the list of global sensations, while “Squid Game” (2021), “The Glory” (2022) and “When Life Gives You Tangerines” (2025) are recent megahits.

The global wave of success for Korean content has since spread into music, literature and other cultural sectors.

Visitors look at K-pop album covers during the 2025 MyK FESTA at Olympic Park, Songpa District, Seoul, June 19. Yonhap

‘DNA’ behind K-content’s global appeal

Asked about the roots of the powerful impact of K-content today, Park pointed to what he calls “the DNA of the Korean people.”

“It seems we understood things quite quickly. In the late 1990s, when Korea was opening up for Japanese culture, people in the [cultural] industry worried that the local industry would collapse. I was one of the skeptics. However, rather than being harmed, the influx of other countries’ cultures raised our level of discernment, allowing us to absorb the good aspects very rapidly and create new things. You could say we have an innate eye and ear for this,” he explained.

Park joined KOFICE in a leadership position in September 2024. Before that, he served as the president of the Korea Drama Production Association and as a member of the National Assembly.

As KOFICE president, Park is tasked with the global promotion of K-content and strengthening its influence through interactions with other cultures.

KOFICE organizes cultural events to mark diplomatic anniversaries, covering a wide range of genres from gugak (traditional Korean music), K-pop and classical music to visual arts. This year, KOFICE is carrying out projects across seven countries: Japan, Singapore, Egypt, Malta, San Marino, Andorra and Palau.

It is also in charge of MyK FESTA, a hallyu-themed event. This year’s inaugural edition in June drew some 46,000 visitors with immersive experiences of Korean culture. As part of its export consultation program, some 114 companies from 16 countries and 172 overseas buyers engaged in more than 1,500 business meetings.

Park said the “K” factor is directly linked to the Korean economy and inevitably wields significant influence over politics and diplomacy as well. That’s where KOFICE steps in.

“For example, when a drama succeeds, the food and cosmetics featured in it also become very popular. It’s a kind of ‘one-source multi-use’ strategy. In politics and diplomacy, culture naturally comes first. If K-pop and dramas act as vanguards and then diplomatic relations are established, the story will be different. Ultimately, the economy and diplomacy stem from the power of culture,” he stressed.

Visitors examine the Korean cosmetic exhibition at the 2025 MyK FESTA at Olympic Park, Songpa District, Seoul, June 19. Yonhap

Building a stronger support system

Despite K-content’s success, Park argues that cultural industries still need support that is more integrated and customized, especially for small and medium-sized companies.

While the government’s support is geared toward helping entertainment powerhouses get bigger, he hopes to “assist smaller companies with good ideas in expanding into overseas markets and fostering their growth.”

He said it all comes down to money.

“Japan allocates almost 5 percent of its budget for culture, Taiwan has a similar level and China’s spending is enormous. However, we currently allocate only about 1 to 2 percent. Time is running out,” he said.

The KOFICE chief also lamented that the filming sets for global hit Korean dramas like “When Life Gives You Tangerines” are dismantled after filming. He believes these studios could be transformed into a resort where drama fans from around the world can stay, while the local economy benefits.

“The people of Korea must fully recognize that it is culture that elevates the nation’s global standing,” he said. “This is national power and we need to create an environment that allows the people behind this cultural industry to truly take root. While the basic work will be done by the private sector, government policies must support regulation, discipline and marketing efforts overseas.”

Looking ahead, he envisions a future where Asian cultures are more closely integrated in the next two decades, with Korea at the heart of it.

“It won’t just end with hallyu. I hope Korea becomes the cultural and artistic hub —truly the center of Asia,” he said.