33 Keys to Decoding the Korean Wave, Hallyu! #13 EAT 

#13 People who enjoy eating, drinking, singing and dancing

<1> Eat (음/飮/EAT)

 

'Dancers' mural in 'Dance Tomb' of Goguryeo in the late 5th century in Jilin Province, China

 

 

Koreans have often been described as a people deeply connected to han (恨, sorrow), but perhaps we have always sought to resolve that han with heung (興, excitement). Indeed, the traditions of eating, drinking, singing, and dancing have been part of Korean life since ancient times, seemingly embedded in our cultural DNA.

 

During the Three Kingdoms period in China (220–280 AD), when the kingdoms of Wei, Shu, and Wu dominated the landscape, historian Jin Su (陳壽) from the Western Jin compiled Dongyi in The Records of the Three Kingdoms. In the section about Buyeo (an ancient Korean kingdom), he noted: "The Jecheon event, held for the New Year, is a national convention where people eat, drink, sing, and dance every day. This event is called Yeonggo."

 

In the chapter on Goguryeo, Jin Su wrote, "The people love singing and dancing. Every evening, in every village across the country, men and women gather in groups to sing and enjoy games." This passage highlights how integral music and dance were to everyday life in Goguryeo.

 

 

Kim Hong-do (1745-1806), Saecham, <Danwon Customs Painting Album>, Treasure No. 527, Collection of the National Museum of Korea

 

 

For the Mahan people, Jin Su recorded: "Every year in May, after the dissemination is finished, they hold sacrifices to the ghosts. Groups of people gather to sing, dance, drink, and play from day until night. In their dance, dozens of people rise together, stepping in unison, bending and raising their hands and feet to the rhythm." And in the Byunhan section, he noted, "They enjoy singing, dancing, and drinking."

 

These accounts demonstrate that the spirit of communal enjoyment, expressed through eating, drinking, singing, and dancing, has been central to Korean culture for centuries. Whether through ceremonies, festivals, or everyday gatherings, these traditions have always been a way for Koreans to connect, celebrate, and perhaps, find joy amid life's challenges.

 

<1> EAT 

 

Why Korean-American musician Michelle Zauner cries at H Mart

 

 

"What I never seem to forget is what my mother ate. She was a woman of many 'usuals.' Half a patty melt on rye with a side of steak fries to share at the Terrace Cafe after a day of shopping. An unsweetened iced tea with half a packet of Splenda, which she would insist she'd never use on anything else. Minestrone she'd order 'steamy hot,' not 'steaming hot,' with extra broth, from the Olive Garden. On special occasions, half a dozen oysters on the half shell with champagne mignonette and 'steamy hot' French onion soup from Jake's in Portland. She was maybe the only person in the world who'd request 'steamy hot' fries from a McDonald's drive-through in earnest. Jjamppong, spicy seafood noodle soup with extra vegetables from Cafe Seoul, which she always called Seoul Cafe, transposing the syntax of her native tongue. She loved roasted chestnuts in the winter, though they gave her horrible gas. She liked salted peanuts with light beer. She drank two glasses of Chardonnay almost every day but would get sick if she had a third. She ate spicy pickled peppers with pizza. At Mexican restaurants, she ordered finely chopped jalapeños on the side. She ordered dressings on the side. She hated cilantro, avocados, and bell peppers. She was allergic to celery. She rarely ate sweets, with the exception of the occasional pint of strawberry Häagen-Dazs, a bag of tangerine jelly beans, one or two See's chocolate truffles around Christmastime, and a blueberry cheesecake on her birthday. She rarely snacked or had breakfast. She had a salty hand."

-"Crying at H Mart," by Michelle Zauner, 2021, Alfred A. Knopf-

 

In the spring of 2021, New York-based Korean-American musician Michelle Zauner published her memoir "Crying in H Mart," which quickly became a sensation. Opening with the poignant line, "Ever since my mother passed away, I only cry when I go to H Mart," the book explores Zauner's memories of growing up on Korean food like kimchi, pork belly, and seaweed soup, all lovingly prepared by her late Korean mother. The memoir recounts their shared moments spent shopping for ingredients and cooking, serving as a deeply personal reflection on loss, love, and identity.

 

In "Crying in H Mart," Zauner references various Korean dishes such as jangjorim (braised beef in soy sauce), dongchimi (radish water kimchi), samgyeopsal (pork belly), miyeokguk (seaweed soup), Shin Ramyun (spicy instant ramyun), tteokbokki (stir-fried rice cakes in spicy sauce), jjajangmyeon (black bean noodles), mulnaengmyeon (cold noodle soup), and snacks like Jjanggu and Jollypong.

 

For Zauner, who was born to a Caucasian father and a Korean mother, food becomes a pathway to understanding her heritage and forming a connection to her roots. Despite not being fluent in Korean, she found a way to reconnect with her mother’s love and her Korean culture through food.

 

Crying in H Mart was widely celebrated, earning spots on The New York Times and NPR's "Book of the Year" lists in 2021, and was also recommended by former U.S. President Barack Obama.

 

Interestingly, Michelle Zauner is also the lead vocalist and guitarist of the successful indie pop band "Japanese Breakfast," which she founded. Her 2021 album Jubilee earned Grammy nominations for Best New Artist and Best Alternative Music Album at the 2022 Grammy Awards.

 

 

Rice cooked in a cauldron. Photo: Wikipedia

 

"民惟邦本, 食爲民天. (The people are the foundation of the country, food is the people's heaven.)" - King Sejong the Great, 'Annals of Sejong' (1444) -

 

Why "Have You Eaten?" Means More Than a Meal in Korea

 

In Korean culture, eating is more than just a physical necessity—it's deeply tied to social connections and expressions of care. The common greeting, "Have you eaten?" goes beyond simple curiosity about someone's last meal. It reflects concern for their well-being. Koreans may ask, "Did you eat properly?" to show care or express gratitude with, "I'll treat you to a meal." Even when asking someone out on a date, the invitation is often framed as, "Would you like to have a meal with me?"

 

Korean language is filled with food-related expressions that convey emotions or describe situations. For instance, "cold rice" means being treated poorly, while "nunchibap" refers to a sense of discomfort. "Eating cold porridge" suggests something easy to do, and "one pot rice" symbolizes unity, whether in family, work, or an organization.

 

Food metaphors are also widely used in everyday conversation. Expressions like "eating age" means growing older, "eating heart" refers to making a tough decision, "eating scare" means being frightened, "eating money" implies gaining profits, and "eating a curse" signifies being humiliated. These phrases illustrate how deeply food is embedded in Korean language and culture.

 

Given that rice (bap) was the staple food, many Korean proverbs involve rice, grain (ssal), or rice cakes (tteok). Sayings such as “You can help if you have enough rice in the jar,” “The beans in other people’s rice look bigger,” and “Even beggars, if diligent, get hot rice,” all reflect the cultural importance of food. Other proverbs like “The rice cakes that look good are good to eat” and “I’ll give another rice cake to the child you hate” (which means killing someone with kindness) reflect the symbolism of food in expressing wisdom and life lessons.

 

 

Bean sprout soup at Miss Korea BBQ restaurant in Koreatown, New York Photo: MissKorea BBQ Restaurant, NYC

 

 

Soup, the Heart of the Korean Table

 

In a typical Korean meal, rice is usually accompanied by soup. Koreans are known for their love of soups, stews, and hotpots. From guk (soup) and jjigae (stew) to jeongol (hotpot), there is a vast variety: rice cake soup, radish soup, soybean paste soup, pollack soup, kimchi soup, bean sprout soup, and even “hangover soup.” The list goes on with haemul tang (seafood soup), gamja tang (potato stew), chueo tang (mudfish soup), doenjang jjigae (soybean paste stew), budae jjigae (army base stew), and more.

 

Unlike countries with a surplus of meat, where steak might dominate the dinner table, Korea’s historical scarcity of meat meant that soup became a popular way to stretch resources and share food with the family. Soup was not only an economical option but also provided warmth during cold winters and complemented cold rice with its hot broth. It’s a food that brings comfort, and in Korean culture, "no soup" can even be a frightening threat, symbolizing the absence of warmth and care.

 

"No Soup for You"

 

Yi Gun Sam's (1926-2003) play, "There Is a Soup (1966)," explores the metaphor of "soup" in the context of Korean society. The play depicts a new employee dreaming of success, only to become corrupt in the process. In this black comedy set in a steel company during the 1960s, the protagonist, an ordinary man, learns that living an honest life results in loss. The term "soup" here symbolizes unscrupulous gains or side income obtained through questionable means, reflecting societal values of ambition and opportunism.

 

A typical Korean meal consists of rice, soup, and side dishes, balancing dry and wet foods, yin and yang, meat and vegetables. This harmonious combination reflects the wisdom and philosophy of Korean ancestors. Unlike Western courses where dishes are served in sequence, the Korean table offers everything at once, giving diners the freedom to choose and enjoy a variety of flavors at their own pace.

 

Korean housewives are often seen as "superwomen" who prepare multiple banchan (side dishes) quickly, ensuring there are always 3 to 5 side dishes at each meal. These banchan, akin to Spanish tapas, are often provided free of charge in Korean restaurants, showing the jeong (affection) of Korean culture. When hosting guests, Koreans take pride in preparing an abundance of food—so much that it’s said the table legs bend under the weight, reflecting the generosity and hospitality inherent in Korean dining traditions.

 

 

BBQ Meal at Miss Korea BBQ Restaurant in K-Town, Manhattan Photo: MissKorea BBQ Restaurant, NYC

 

 

Nam June Paik: Korean Food and "random access" 

 

Nam June Paik, the pioneer of video art who left Korea at the age of 17 and married Japanese video artist Shigeko Kubota, had a deep appreciation for Korean food from an early age.

 

"Compared to Japanese food culture, which highlights the distinct characteristics of each ingredient and savors them individually, our cuisine is the opposite. All side dishes are served at once, a 'random access' method. Praise comes naturally for the unique value of our food culture, which embodies techniques and philosophies that are well-suited for adapting to the electronic age and the global era." 

-Nam June Paik, The Spirit of Bibimbap and Daejeon Expo 93

 

Koreans are passionate about food, and eating is often the top priority, even when traveling. As the saying goes, "You should eat even before you go to the Diamond Mountain" (similar to "A loaf of bread is better than the song of many birds"). This focus on food has even made headlines when Korean travelers bring their culinary traditions abroad. For instance, some Koreans walking the Camino de Santiago in Spain were known for grilling pork belly and enjoying soju and kimchi at the albergue (hostel).

 

Food holds such importance for Koreans that it frequently becomes a subject for Korean artists. It’s no surprise that Korean food culture appears not only in dramas, movies, and musicals from the Korean Wave (Hallyu), but also in cartoons and comics that inspire popular films and TV shows. Food is an essential part of Korean identity, shaping both artistic expression and everyday life.

 

#1 TV drama "Dae Jang Geum (Jewel in the Palace)" Syndrome

 

"Dae Jang Geum" (left), a drama exported to Asia and Africa, and "Jewels of the Palace," a cookbook of "Dae Jang Geum," published in English.

 

#1 TV Drama "Dae Jang Geum (Jewel in the Palace)" Syndrome

 

In 2003, MBC-TV's historical drama Dae Jang Geum (Jewel in the Palace) captivated audiences with the story of Seo Jang Geum, an orphaned kitchen cook who rose to become the first female physician to the King in the Joseon Dynasty. The drama portrayed her journey as she mastered the secrets of Korean cuisine and medicine to treat the King's ailments.

 

The drama not only caused a sensation in Korea but was exported worldwide, becoming a major driver of the Korean Wave. Beyond Asia—where it aired in North Korea, Japan, China, Thailand, and Sri Lanka—Dae Jang Geum reached audiences in countries like Iran, Turkey, Romania, and Zimbabwe, catapulting actress Lee Young-ae to global stardom. Unlike previous dramas that focused on royal concubines like Jang Hee-bin, this was a success story of a court lady, showcasing not only the narrative but also elevating the profile of high-end Korean food culture (K-Food), such as royal cuisine.

 

The show sparked a renewed interest in traditional royal dishes like tarakjuk (milk porridge), yeongeunggi (lotus root soup), maekjeok (grilled pork skewers), hwayangjeok (skewered beef and vegetables), and gujeolpan (platter of nine delicacies), among others. The 70 recipes featured in the drama, along with the underlying culinary philosophy of the Joseon Dynasty, became a subject of widespread fascination. In response, the cookbook Jewels of the Palace: Royal Recipes from Old Korea (2017) was published in English, making these traditional dishes accessible to global audiences

 

#2 Sikgaek: From Comics to Movies (Le Grand Chef) to Dramas (Gourmet)

 

Huh Young-man's newspaper serial cartoon (manhwa) for the Dong-A Ilbo newspaper, "Sikgaek" (from left), director Jeon Yoon-soo's movie "Le Grand Chef," SBS-TV drama "Gourmet," and Kim Young-sa's complete collection of comics (27 volumes) "Sikgaek."

 

Korean food culture and pride found another outlet in Huh Young-man's best-selling comic series Sikgaek, which first appeared in the Dong-A Ilbo newspaper in 2002. The series was later adapted into a movie, a TV drama, and a complete collection of cartoons, highlighting just how much Koreans value their food.

 

Running for 135 episodes, the Sikgaek comic series delved into the rich and diverse world of Korean cuisine, showcasing dishes such as bibimbap, kimchi, samgyetang (ginseng chicken soup), bulgogi, seolleongtang (ox bone soup), budaejjigae (army base stew), jjajangmyeon, tteokbokki, and naengmyeon, among many others. The comic captured the taste, texture, and tradition of Korean food in a way that resonated with readers.

 

In 2007, director Jeon Yoon-soo adapted Sikgaek into the movie Le Grand Chef, and the following year, SBS-TV produced a 24-episode drama titled Gourmet, directed by Choi Jong-soo, continuing the Sikgaek phenomenon. The series further cemented Korean cuisine as an integral part of Korean identity. In 2019, Kim Young-sa published a 27-volume collection of Sikgaek, and a vintage restaurant named Sikgaek even opened in New York, bringing the comic’s culinary spirit to the U.S. In 2015, Huh Young-man expanded his storytelling with the series Shall We Have a Cup of Coffee?, published in the JoongAng Ilbo newspaper.

 

These works not only celebrated the deep connection Koreans have with their food but also brought Korean cuisine to the forefront of cultural discourse, both in Korea and internationally.

 

 

#3 Non-verbal Musical "COOKIN'"

 

The non-verbal musical "Cookin'," which had a long Off-Broadway run in New York, is set in a kitchen.

 

The stage of the non-verbal musical "Cookin'" (Nanta/亂打), which premiered in New York City in 2003 at the New Victory Theater in Times Square (499 seats), is a kitchen. It depicts the commotion that ensues when the manager brings in his nephew and instructs the cooks to prepare the wedding reception food by 6 p.m. The show combines conflict, deadline, food, and rhythm.

 

Song Seung-hwan, the creator of "Cookin'," drew inspiration from off-Broadway non-verbal performances like "Blue Man Group" and "STOMP" while living in New York in the late 1980s. The show incorporates elements of Samulnori (percussion music with four traditional instruments), Madangnori (traditional Korean theater combining various forms of folk entertainment such as puppetry, mask dances, and traditional percussion music), magic, acrobatics, comedy, pantomime, and audience participation. In "Cookin'," kitchen chefs create rhythmic sounds using kitchen knives, frying pans, pots, plates, and spatulas in scenes such as the dumpling contest, bulgogi cooking, and kung fu fighting.

 

The American "Blue Man Group" drew inspiration from the abstract expressionist painter Jackson Pollock's action painting, while the British show "STOMP" features sounds made from everyday items like brooms, trash cans, Zippo lighters, plastic bags, and sand. In contrast, the Korean production of "Cookin'" focuses on the concept of food, the kitchen, and a wedding reception.

 

"Cookin'," which premiered in Seoul in 1997, made its Off-Broadway debut in March 2003 at the New Victory Theater on 42nd Street. It also had an extended run until March at Greenwich Village's Minetta Lane Theater (391 seats, Off-Broadway). Contrary to earlier reports in Korea, the New Victory Theater is classified as Off-Broadway due to its 499 seats. As of 2021, "Cookin'" has exceeded 15 million viewers and continues to be performed in Seoul and Jeju Island.

 

 

#4 Food Codes in the movie "Parasite"

 

In the movie "Parasite," food is used as a symbol of social class and serves as a code that reinforces the characters and the story.

#4 Food Codes in the movie "Parasite"

 

Director Bong Joon-ho's "Parasite" is a film that heavily utilizes food symbolism. In one scene, Ki-woo, son of Mr. Kim, played by Song Kang-ho, holds up a scholar's rock given to him as a gift by a friend and remarks on its symbolic nature.

 

The Kim family, who reside in a semi-basement, have a strong connection to the food industry. They have experienced failed ventures in running a fried chicken restaurant and a Taiwanese castella (sponge cake) chain. As a side job, the entire family works together folding boxes at a delivery pizzeria. Mr. Kim, the patriarch (played by Song Kang-ho), even resorts to eating moldy bread due to their financial struggles. However, when Ki-woo and Ki-jung secure tutoring jobs for Mr. Park's children, they treat their parents to a meal at a buffet restaurant for taxi drivers.

 

Food also plays a role in the interactions between characters. Moon-gwang, the housekeeper at Mr. Park's residence, pretends to serve maesilcheong (plum syrup) while secretly watching Ki-jung's class. Ki-jung takes advantage of Moon-gwang's allergy to peaches. Additionally, Mr. Park complains to his wife, Yeon-gyo, about Mr. Kim's smell, likening it to "dried radish." This scene further adds to the mounting tension and anger felt by Mr. Kim.

 

Throughout "Parasite," food serves as a significant metaphor, representing the stark class divisions and the power dynamics between characters. It reflects the struggles and aspirations of the Kim family while highlighting the disparities in their lives compared to the affluent Park family.

 

 

"Parasite" 

 

 

In "Parasite," there is a memorable food scene involving Jjapaguri, a dish created by combining two popular instant noodle brands, Chapagetti and Neoguri. After returning from a camping trip in heavy rain, Yeon-gyo, the lady of the house, asks Chung-suk, the new housekeeper and Mr. Kim's wife, to add Korean beef strips to Jjapaguri. This transforms the instant ramen dish from a common convenience food into a high-end dish with the addition of Korean beef steak garnish. The combination of Chapagetti and Neoguri noodles is referred to as "ramdon" (a mix of ramen and udon) in English.

 

Another food-related scene involves Geun-sae, Moon-gwang's husband, who resides in the underground shelter. In his first appearance, Geun-sae is seen eating Mi-eum (a popular Korean snack) and bananas from a baby bottle given to him by his wife. These foods symbolize appetite and sexual desire, and Geun-sae, a middle-aged man, is portrayed as someone stuck in the "oral stage" of development, a concept proposed by Sigmund Freud. Later, Geun-sae gets into a physical altercation with the Kim family, and when he emerges, he drinks plum syrup straight from the bottle, covered in blood and sweat.

 

The contrasting food scenes highlight the differences between the proletarian Kim family and the wealthy Park family. The Kim family, despite their poverty, showcases strong familial bonds through their shared meals. In contrast, the Park family rarely eats together and is portrayed as an atomized family scattered throughout their spacious mansion. Bong Joon-ho employs food details and metaphors, known as "Bongtail," to add depth to the storytelling in "Parasite."

 

 

The Washington Post: Korean food philosophy 

 

In June 2021, amid the ongoing COVID-19 pandemic, The Washington Post published an article titled "How Korean Food Philosophy Can Help Us Reconnect." While Korean food has been part of the mainstream for years, the article suggested that the deeper values behind the cuisine are more important than ever in a time when people are yearning for connection. 

 

The article highlighted the growing popularity of gochujang (red chili paste) and bibimbap on menus at trendy restaurants, and how K-Pop has become a staple on music streaming services. The Post credited renowned Korean-American chefs like Roy Choi (Kogi) and David Chang (Momofuku) for introducing dishes like bulgogi and bossam (roasted pork shoulder) to the American culinary scene.

 

While Americans now regularly enjoy Korean staples like kimchi and bulgogi, The Post emphasized that Korean food is not just about taste—it’s about the experience and the cultural traditions that accompany it. Korean cuisine is rooted in a philosophy that values time, care, and connection, especially with those gathered around the table. In a year focused on reuniting with loved ones, the principles behind Korean food hold even greater significance.

 

The article outlined three core principles of Korean cuisine. First, the importance of nature and time. Korean food traditions are centered around preserving ingredients to maintain their nutritional value throughout the year, with fermented foods like kimchi and soybeans offering digestive health benefits. The second principle is the idea that "food is medicine" (yak sik dong won, 藥食同源). Foods like kimchi not only provide fiber and probiotics but also support the immune system and promote gut health. Korean cuisine, with its variety of heart-healthy seafood, vegetables, and herbs such as ginseng, contributes to a balanced and nutritious diet. The third principle is balance. Dishes like bibimbap epitomize balance, combining carbohydrates, fiber, and protein in one meal. The concept of bapsang, or a well-rounded table set for sharing, is foundational to Korean meals and encourages a sense of community and harmony.

 

The article also highlighted mandu (dumplings) as a prime example of these principles. Mandu, often enjoyed during Lunar New Year, symbolizes health, prosperity, and well-being for the year ahead. The tradition of families coming together to make mandu reflects the communal spirit and care that defines Korean food culture.

 

The Post concluded by noting that in a time marked by isolation and separation, the values embodied by dishes like mandu—connection, nourishment, and shared experience—are exactly what we need most.

 

 

NYT: Korean American Church Lunch

 

For Korean immigrants, church meals have long served as a vital hub for socializing and building community. On December 15, 2023, The New York Times published a column by Korean-American writer Eric Kim titled "There’s No Christmas Lunch Like a Korean American Church Lunch." In the piece, Kim reflects on how, for decades, Korean church lunches have been essential for first-generation immigrants in the U.S., providing more than just nourishment. These meals have been a key space for fostering community, offering conversation, gossip, and fellowship—a central element of immigrant life.

 

However, Kim observes a shift among second- and third-generation Korean Americans born in the United States, who are seeking a "third space" beyond church, work, and home. With K-pop, K-food, K-movies, and K-culture now widely accessible, the traditional church lunch following worship has become less significant for younger generations. Despite this, Kim highlights one notable exception: Christmas lunch. He explains that when younger generations visit their parents during the holidays and are brought to church, even if just for the day, the generational divide begins to fade. During the Christmas lunch, both young and old come together, speaking a mix of English and Korean, creating a rare moment of unity and shared tradition.

 

Sukie Park

A native Korean, Sukie Park studied journalism and film & theater in Seoul. She worked as a reporter with several Korean pop, cinema, photography and video magazines, as a writer at Korean radio (KBS-2FM 영화음악실) and television (MBC-TV 출발 비디오 여행) stations, and as a copywriter at a video company(대우 비디오). Since she moved to New York City, Sukie covered culture and travel for The Korea Daily of New York(뉴욕중앙일보) as a journalist. In 2012 she founded www.NYCultureBeat.com, a Korean language website about cultural events, food, wine, shopping, sightseeing, travel and people.