Korean folklore, shamanism and traditional games—materials rich in local color—are stimulating the universal emotions of global audiences and driving the competitiveness of K-content, analysts said.
At "Pixel & Paint," a special forum within "Seoul Forum 2026" held at the Yeongbinkwan of the Shilla Hotel in Jung-gu, Seoul on Tuesday, the power of storytelling drew attention as a key engine supporting the global competitiveness of K-culture. Speakers agreed that the success or failure of K-content hinges on how old folktales, memories, wounds, comfort, and emotions embedded in everyday culture are translated into a contemporary idiom.
In a dialogue that day with Cho Sang-in, art correspondent at Seoul Economic Daily, contemporary artist Lee Soo-kyung located the essence of K-art not in a specific form or pattern but in stories. "Outward elements such as obangsaek (the five traditional Korean colors), hanji (traditional Korean paper) or the taegeuk pattern are not the essence of K," Lee said. "What matters is connecting to a larger, older human memory that is not confined to Korea."
Her signature work "Translated Vase" deliberately breaks Joseon white porcelain pieces imaginatively crafted by an Italian potter and then joins the fragments together with gold. The broken fragments, cracks and the restoration process itself serve as metaphors for the wounds of Korean society, history and human existence. "The universality of old stories at the root of memory has drawn empathy not only from Korean audiences but also from overseas audiences," Lee explained. "Fragmented traces of the past, ancient records, folktales and orally transmitted stories are seeds of infinite possibility for me." She added, "In the age of artificial intelligence (AI), stories are ultimately the only way to survive."
Michelle Sugihara, CEO of CAPE, who has supported global investment and promotion for the Netflix animation "KPop Demon Hunters" and films such as "Parasite" and "Minari," likewise analyzed in a dialogue with Ma Dong-hoon, professor of media at Korea University, that "the success of K-content is rooted in delivering the most Korean and at the same time the most universal stories with depth."
"'KPop Demon Hunters,' rooted in shamanic beliefs, draws on uniquely Korean material but addresses universal emotions shared across all cultures, such as friendship, courage, and good versus evil," Sugihara said. "'Squid Game' also drew global empathy by exposing the ills of an intensely competitive society through Korean traditional games." She continued, "Since we live within media from the moment we open our eyes in the morning until we fall asleep, Korea's powerful soft power is spreading far more strongly through media. The influence of K-storytelling will grow even greater going forward."
Lee Geon-wook, head of the exhibition operations division at the National Folk Museum of Korea, drew attention to the phenomenon of K-content, including the Netflix animation "KPop Demon Hunters," expanding into shamanism. He stressed that what outsiders are curious about regarding Korea is not taekwondo and gimbap, but the daily lives of Korean people and the emotions through which they find comfort. "AI's explanations are becoming increasingly sophisticated, but humans are becoming lonelier, and sometimes they want the comfort of shamanism rather than the explanations of science," he said. "The structure of comfort and empathy embedded in Korean shamanism can become a core asset of K-storytelling going forward."
