Meeting with cultural and artistic figures attended by First Lady Kim Hye-kyung and President Lee Jae-myung

President Lee Jae-myung's meeting with cultural and artistic figures attended by Kim Hye-kyung

On June 30, 2025, President Lee Jae-myung and First Lady Kim Hye-kyung held a meeting at the presidential office with representatives of the cultural and artistic community. This was an opportunity to directly examine and seek practical directions for issues such as basic income for artists, improving the creation environment, and expanding global cultural policies, which were among the pledges made during the presidential election. The meeting was not just a simple policy announcement but a symbolic moment where the presidential couple listened to the realities of cultural and artistic figures while engaging in policy discussions and emotional resonance simultaneously. President Lee emphasized the philosophical starting point of cultural policy by stating, "Culture is an investment." This reflects the understanding that culture extends beyond mere emotional value and encompasses future investment in industrial and public dimensions. At the same time, First Lady Kim added, "Culture is memory, emotion, and the stories of our lives." Through sharing her experiences and the emotions surrounding the drama "Poksak Sok-assuda," she highlighted that culture is an element that directly connects to 'people's lives' beyond just systems or structures. Thus, the meeting presented a rich scene where policies and emotions, reality and ideals converged.

The Intersection of Cultural and Artistic Individuals' Reality and National Policy

This discussion meeting included prominent cultural and artistic figures active both domestically and internationally. Among the key participants were writer Park Chun-hyu, who won six Tony Awards for the musical 'Perhaps a Happy Ending' world-renowned opera singer Jo Sumi, recipient of the France's Order of Arts and Letters director Heo Ga-young, who won first place in the student category at the Cannes Film Festival dancer Park Yoon-jae, who became the first Korean to win the Lausanne International Ballet Competition and director Kim Won-seok, who directed the drama 'I Was Completely Deceived.' Each of them specifically proposed issues they faced in their fields and tasks that require improvement at the national level. Director Kim Won-seok was the first to mention the need for large-scale professional set facilities. He explained, 'Korean content is gaining attention in the global market, but in reality, there is a lack of infrastructure for internationally-grade sets, leading many to either shoot abroad at high costs or abandon their productions altogether.' In response, President Lee Jae-myung said, 'It is necessary to actively consider establishing permanent set facilities at the national level, like the Bund in Shanghai, China.' Writer Park Chun-hyu requested a national support system for creative works to advance to the global stage. He stated, 'To connect with a world market that has different languages and emotions, we need an international network and platform beyond simple translation and interpretation,' and emphasized that 'the state should strategically connect creators' overseas advancements.' This perspective highlighted the point that K-content is not just a simple cultural export, but a key means of expanding soft power. Director Heo Ga-young voiced more urgent concerns about the reality of independent art. Her statement, 'Although we received awards at Cannes, upon returning, there is no funding or opportunities for showcasing our next works,' resonated with many independent and art filmmakers. She suggested, 'Education and internship programs like the Korean Film Academy operated by the government should continuously be open to non-majors,' requesting an expansion in diversity and accessibility for creators. Meanwhile, dancer Park Yoon-jae addressed the issue of military service for male artists. He noted, 'Opportunities for global stage advancement as a dancer are mostly determined between the ages of 16 and 20, but military service often leads to career interruptions.' This highlighted the need for flexible alternatives in the military system, as cultural artists represent not just individuals but the creativity and competitiveness of the nation. Opera singer Jo Sumi called for a strengthening of the role of overseas cultural centers. Her point that they should be 'cultural hubs' that collaborate with local artists and allow Korean cultural content to infiltrate local communities, rather than being mere promotional outlets, targeted both the identity and practicality of cultural diplomacy. The proposals presented at the meeting clarified that cultural policy cannot simply remain under the pretext of 'support.' It underscored the need for a multifaceted redesign of policies concerning the foundation of creation, the rights of artists, global strategies, and administrative improvements.

Mrs. Kim Hye-kyeong, sharing the emotional narrative that culture is life

During the meeting, First Lady Kim Hye-kyung's remarks formed a different layer from policy discourse. She mentioned the drama , revealing that President Lee Jae-myung often shed tears while watching the main character, Aesoon. She explained that this was because the late sister-in-law of the president had the same name, 'Ae-ja.' This statement was not just an emotional expression but rather a case demonstrating how cultural content seeps into people's memories and personal histories. Kim also stated that she had prepared for piano studies abroad but chose to marry President Lee Jae-myung instead. This reflects the experience of someone who did not become an artist, yet it also represents a choice of a person living a narrative on a different level. She emphasized that this choice has continued to this day, allowing her to sit down with artists and share experiences as she did today. Her connection with soprano Jo Soo-mi also caught attention. The two, who were alumni of Sunhwa Arts High School, met again after a long time, and throughout the meeting, they were seen holding hands and whispering to each other. This scene symbolically illustrated how a common foundation in art can connect long-standing relationships and the exchange of emotions. Kim Hye-kyung's remarks and presence added an emotional layer of 'life' beyond the structure of 'policy' at the meeting. While the president provided the principles and direction of cultural policy, the First Lady emotionally showcased how it can reach people.

Intersection of Policy and Emotion, The Start of a New Cultural Policy

This meeting was both an administrative starting point for cultural policy and a human scene where emotions, memories, and narratives intersected. Creators suggested specific issues they are facing, and the President aimed to organize them into a direction that is 'not just theoretical discussions but feasible in practice.' At the same time, Mrs. Kim Hye-kyung quietly, yet powerfully, revealed what culture means in terms of life memories and emotions. Culture cannot be completed merely through budgets and structures. It comes alive only when people's experiences, stories, emotions, and communities come together. In this regard, the meeting was a place that broke down the boundaries between policy and emotion, and it was also the moment when culture rose to the central task of national governance. The key is how the Lee Jae-myung government will implement the proposed matters—such as basic income, military system improvement, infrastructure development, and strengthening international networks. However, one thing is clear: we are entering an era where culture is no longer seen as a value-added element or luxury. As Mrs. Kim Hye-kyung said, culture is ultimately a way of life, memory, and choice. Now, the state must answer the question of how it will protect and share that life.