33 Keys to Decoding the Korean Wave  #19 From Ungnyeo to Haenyeo 

#19 Goddesses in Every Korean Woman 

*한류를 이해하는 33가지 코드 #19 한국여성 속의 여신들 <Korean version> 

https://www.nyculturebeat.com/index.php?mid=Focus&document_srl=4081428

Claude Monet, Woman with a Parasol,1886. Musée d'Orsay, Paris/ Elizabeth Keith, A Hamheung Housewife, 1921/ Park Soo Keun, The Woman Who Crushes, 1954

Despite the lingering influence of patriarchal values in Korean society, women have demonstrated remarkable strength and resilience, drawing inspiration from the many female role models throughout their history.

Just as Egypt had powerful queens like Hatshepsut and Cleopatra, Korea’s Silla dynasty was marked by the leadership of Queens Seondeok, Jindeok, and Jinsung. Historical figures such as Jeanne d’Arc in France and Yu Gwan-sun in Korea have also left indelible marks. Even during the Imjin War, the gisaeng Non’gae, despite her low status, courageously sacrificed herself, becoming a symbol of heroism. Similarly, Myeongwol Hwang Jini, a celebrated gisaeng, musician, and artist, left a lasting legacy. Meanwhile, the Haenyeo, the female divers of Jeju Island, have fascinated feminists around the world with their strength and independence.

In addition to these figures, the influence of mothers on prominent scholars like Yi Yi of the Joseon dynasty is notable. Yi Yi’s mother, Shin Saimdang, was not only a Confucian scholar but also an accomplished painter. Similarly, the renowned calligrapher Han Seok-bong was guided by his mother, Baek Indang, a rice-cake vendor who dedicated her life to her son’s success. Shin Saimdang’s legacy was honored when she became the face of the 50,000 won bill in 2007 (approximately $40), a significant recognition in a country where no women have yet appeared on U.S. paper currency.

Korea has also seen its share of contemporary milestones. Park Geun-hye’s election as the country’s first female president was a significant moment, despite the controversy that led to her impeachment. Beyond well-known figures, countless unnamed Korean women have displayed their resourcefulness through “gye” (traditional lending clubs), demonstrating financial acumen, and the “skirt wind” phenomenon, similar to the "soccer moms" in the U.S., reflects their unwavering commitment to their children’s education.

While challenges remain, the contributions and influence of these remarkable women have left a profound impact on Korean society, advancing the status and rights of women.

 Goddesses in Every Korean Woman

“Goddesses in Everywoman” (1984) by Jean Shinoda Bolen/ Korean translated version of the book published in 2003

In her book "Goddesses in Everywoman" (1984), American psychiatrist Jean Shinoda Bolen explored the archetypes that shape women’s inner lives. Bolen categorized them as Artemis (intellect and independence), Athena (strategist), Hestia (domesticity and devotion), Aphrodite (love), Hera (marriage), Demeter (nurturer and mother), and Persephone (maiden and daughter). She argued that these archetypes are activated at different stages of a woman’s life. In other words, these archetypes lie dormant within all women and reveal themselves in different ways depending on the situation.

Similarly, the Korean female psyche is imbued with powerful archetypes drawn from history and mythology: Ungnyeo (patience), Queen Seondeok (leadership), Shin Saimdang (wise mother and artistic talent), Baek Indang (educational passion), Nongae (sacrifice), Yu Gwan-sun (resistance), and the Jeju Haenyeo (toughness). These figures serve as symbolic goddesses, embodying qualities inherent in all Korean women. They provide role models, offering inspiration and strength to generations of Korean women.

The Original Champion of Self-Quarantine: The Tenacious Ungnyeo

In 2008, a commemorative stamp series was issued in Korea depicting scenes from the founding myth of the nation, celebrating the story of Ungnyeo, the bear-woman who became the mother of King Dangun, the legendary founder of Gojoseon, the first kingdom on the Korean Peninsula. The stamps capture her transformation from a bear to a human, alongside Hwanung (the divine son of the heavens), and the gods of wind and clouds, as they descend to Mount Taebaek riding on clouds. Ungnyeo, as the mother of the Korean people, is also considered the first practitioner of self-quarantine and the original vegetarian.

Creation myths exist in every culture to lend legitimacy to its origins. In Korea’s myth, the divine son Hwanung yearned to rule the human world and, with his father’s blessing, descended to earth with 3,000 followers, including the gods of rain, wind, and clouds. They established a new city beneath a divine tree atop Mount Taebaek (now known as Mount Myohyang). During this time, a bear and a tiger, both aspiring to become human, approached Hwanung. He gave them a handful of mugwort and twenty cloves of garlic, instructing them to endure 100 days in a cave without exposure to sunlight. If they succeeded, they would become human.

The tiger, unable to withstand the isolation, gave up and fled. However, the bear, embodying patience and determination, persevered for twenty-one days and transformed into a woman named Ungnyeo. Beneath the divine tree, she prayed earnestly for a child. Briefly transformed into a human, she married Hwanung and gave birth to King Dangun. Dangun, with the philosophy of “Hongik Ingan,” meaning “broadly benefiting all humankind,” founded Gojoseon in 2333 BC and ruled for 1,500 years.

Unlike many creation myths dominated by tales of heroism and conflict, such as those in Greek mythology where gods like Zeus swallowed their children and waged wars, Korea’s Dangun myth is a story of perseverance and harmony. Hwanung descended to earth, the bear tenaciously transformed into a woman, and together they brought forth Dangun. This myth symbolizes a vertical connection between heaven, earth, and humanity, embodying the philosophy of “Cheon Ji In” (Heaven, Earth, and Human) and the peaceful, horizontal ideology of “Hongik Ingan.” From the very beginning, the Korean people have been characterized by their love of peace and harmony.

Had the tiger succeeded in the test instead of the bear, perhaps the Korean people would have inherited a more aggressive nature. Instead, the bear’s steadiness and tenacity became defining traits of the Korean character. As the scholar Cho Yoon-je once remarked, “steadiness is the charm of Korea, and tenacity is the strength of Korea.”

Ungnyeo’s story is not just a myth of origin; it serves as a powerful metaphor for resilience and determination, reminding us that even in the face of adversity, patience and perseverance can lead to transformation and greatness.

“Queen’s Era” in Silla: Seondeok, Jindeok, and Jinsung

The Metropolitan Museum of Art houses a Sphinx of Hatshepsut, ca. 1479–1458 B.C. (left), / Starring Lee Yo-won in the MBC-TV 62-episode drama “Queen Seondeok” (2009) / Empress Wu Zetian of the Tang Dynasty / England’s first queen, Mary I.

The Metropolitan Museum of Art showcases a Sphinx of Hatshepsut, dating back to around 1479–1458 B.C., a testament to one of the great female rulers of ancient Egypt. Often overshadowed by Cleopatra, who is remembered as a femme fatale entangled with Roman heroes Julius Caesar and Mark Antony, Hatshepsut ruled Egypt nearly 1,400 years earlier. As the fifth pharaoh of the Eighteenth Dynasty (1507-1458 BC), she concealed her female identity by adopting male regalia, including a false beard, and governed for 21 years, leading Egypt to unprecedented economic and cultural prosperity.

Hatshepsut constructed a fleet of five large ships near the Red Sea, capable of carrying 200 people each, and initiated trade with neighboring regions such as Nubia and the Levant. She also commissioned monumental architectural works, including the grand Djeser-Djeseru temple in Deir el-Bahri and a pair of towering obelisks at the entrance of the Karnak temple, the tallest in the world at the time. The Metropolitan Museum of Art dedicates an entire gallery to the legacy of Hatshepsut, featuring her majestic sphinx.

The obelisks and the Djeser-Djeseru temple, constructed during the reign of Queen Hatshepsut in ancient Egypt. Photo by Youngmi Jin.

Across the globe and centuries later, Mary I became England’s first queen regnant, ruling from 1553 to 1558. Often associated with the “Bloody Mary” cocktail, she was the daughter of Henry VIII. In China, the only female emperor, Empress Wu Zetian, ruled during the Tang Dynasty from 690 to 705. Even earlier, Korea had its own queen, Seondeok of Silla, who ascended the throne over half a century before Empress Wu Zetian.

Cheomseongdae, astronomical observatory in Gyeongju, (left), constructed during the reign of Queen Seondeok and a restoration blueprint of major buildings, including Hwangryongsa Temple and the none-story wooden pagoda, which were lost during the Mongol invasion in 1238.

Queen Seondeok (632-647), the 27th ruler of the Silla Kingdom, was the daughter of King Jinpyeong. She began her reign by establishing her own era name, Inpyeong (仁平), following her father’s three-year rule. Despite threats from the neighboring kingdoms of Goguryeo and Baekje, Queen Seondeok worked alongside generals Kim Yu-sin and Kim Chun-chu to lay the groundwork for the eventual unification of the Three Kingdoms of Korea.

Her contributions to Silla were numerous. She ordered the construction of the Hwangnyongsa nine-story pagoda, which stood 80 meters tall and was often referred to as Silla’s Obelisk. To promote Buddhism, she founded 25 temples, including Bunhwangsa and Yeongmyosa. For astronomical observation, she commissioned the construction of Cheomseongdae, Asia’s first observatory, which is now recognized as National Treasure No. 31. She also dispatched scholars to China to cultivate talented individuals and organized embroidery competitions for women around Chuseok (Korean Thanksgiving) to enhance their skills and celebrate the season.

Queen Seondeok’s legacy was carried on by her cousin, Queen Jindeok (647-654), and later by Queen Jinseong (887-897) of the Unified Silla. Together, these three queens established a unique chapter in Korean history known as the “Queen’s Era” of Silla, showcasing the remarkable leadership and vision of female rulers long before similar figures emerged in other parts of the world.

3,000 Palace Maidens, Nongae and Yu Gwan-sun

"Holy fury runs deeper than faith,

And blazing passion burns brighter than love.

Ah! Drift with waves bluer than bean blossoms,

Let your heart flow redder than poppy fields.

Your delicate brows arched high in defiance,

Your lips, like pomegranate seeds, kissed death itself!

The river's current stretches on endlessly,

Yet your spirit, unbelievably, blooms red like a flower."

-Nongae, Byeon Yeong-ro (1898-1961)-

“With flower petals in your mouth, carried by the wind,

You wept, hands folded in a prayer so small.

A great star, high and radiant,

Overflowed from your passionate lips, a tender incision.

Eyes so beautiful, twinkling like the morning star,

An unforgettable light shining in your gaze.

Devoted, devoted, you drifted on the blue waves,

Devoted, devoted, you prayed,

That love, that love would endure forevermore.”

-Nongae (1982), Lyrics/Composition: Lee Geon-woo, Singer: Lee Dong-ki-

In Jucheon Village, Jangsu County, Jeollabuk-do, stands a statue of Nongae, a woman famous for her loyalty.

Jean-Auguste-Dominique Ingres, Joan of Arc at the Coronation of Charles VII, 1854, Louvre Museum/ Yu Gwan-sun in prison uniform ⓒIndependence Hall of Korea

In France, there was a heroic young girl named Jeanne d’Arc (1412-1431). Similarly, in Korea, there was Yu Gwan-sun (1902-1920).

Yu Gwan-sun was born into a Protestant family in Cheonan, Chungcheongnam-do, and attended Ewha Hakdang (present Ewha Girls’ High School) in Seoul. In 1905, after the signing of the Eulsa Treaty (Japan–Korea Treaty), Ewha Hakdang suspended classes every day at 3 PM to hold prayer meetings and patriotic discussions, praying for the independence of the country. On January 21, 1919, when King Gojong passed away, the students dressed in mourning attire and went on strike. Yu Gwan-sun participated in the March 1st Movement that took place at Pagoda Park. She, along with four other students, Seo Myeong-seon, Kim Bok-sun, Kim Hee-ja, and Gook Hyeon-sook, formed a group and left the dormitory to join the protest march heading towards Namdaemun.

Afterward, she returned to her hometown, Cheonan, and released the hidden Declaration of Independence on April 1st at Byeongcheon Market, leading the independence movement. Her parents died at the site of the protest, and she was arrested as the leader and sentenced to three years in prison. In 1920, on the first anniversary of the March 1st Movement, she led a protest inside Seodaemun (West Gate) Prison. However, on September 28 of that year, Yu Gwan-sun passed away due to torture and malnutrition. She was only 18 years old. In 1974, the Yu Gwan-sun Memorial Hall was established at Ewha Girls’ High School.

The stamp on the left depicts Jeanne d’Arc in 2012, and the stamp on the right depicts Yu Gwan-sun in 1982.

In 2005, Olivier Bouzy, scientific director of the Jeanne d’Arc Center in Orleans, France, visited the Yu Gwan-sun Memorial Hall in Cheonan and stated that “Yu Gwan-sun is the only young patriot maiden in the world comparable to Jeanne d’Arc.”  Mr. Bouzy suggested that Yu Gwan-sun might have read about Jeanne d’Arc’s life.  In Korea, in 1907, journalist Chang Ji-yeon of Hwangsung newspaper published a book titled “The Story of a Patriot Maiden” based on Jeanne d’Arc’s biography.

When we think of independence activists, figures like Kim Gu, the poet Yun Dong-ju, martyr Yu Gwansun, martyr Yun Bong-gil, and Ahn Chang-ho come to mind. However, there were countless female independence activists as well. Women like Kim Maria, Kwak Nak-won, Nam Ja-hyeon, Kwon Gwi-ok, Park Ja-hye, Park Cha-jeong, Cho Maria, Yang Je-hyeon, Yun Hee-soon, Choi Eun-hee, Choi Yong-shin, Ha Ran-sa, and Han Seong-seon, to name just a few. In February 2018, Korea’s Ministry of Patriots and Veterans Affairs officially recognized 300 female independence activists, including Yu Gwan-sun, and honored them with a commemorative ceremony.

Poet and Doctor of Literature, Lee Yoon-ok, published a book called “Dictionary of 300 Female Independence Activists” in 2018, and in the same year, a group called “Beot:da” at Seoul Women’s University’s Department of Journalism and Media held a crowdfunding campaign to raise awareness of around 1,900 female independence activists. In March 2019, Korea’s Ministry of Gender Equality and Family held a special exhibition titled “Female Independence Activists, 100 Years of Memory Opening the Future” at the National Women’s History Museum in Goyang, commemorating the 100th anniversary of the March 1st Movement and the establishment of the Provisional Government.

With her brother on her back a war weary Korean girl tiredly trudges by a stalled M-26 tank, at Haengju, Korea., 1951.  Archives Library Information Center, USA

Shin Saimdang, Grapes, Ink on Silk, 31.5×21.7cm, Collection of Gansong Art Museum

The Korean Mothers: Shin Saimdang and Baek Indang

During the Joseon Dynasty, there was a renowned Confucian scholar named Yi I (1536-1584), better known as Yi Yulgok, who earned the nickname “Shindong” (child prodigy) for his exceptional talent in reading and writing by the age of three. His brilliance was nurtured by his mother, Shin Saimdang (1504-1551), a true Renaissance woman of her time.

Shin Saimdang, the second of five daughters in a noble family, received an education in the Confucian classics from her father. By the age of seven, she was already imitating the works of renowned artist An Gyeon. Her knowledge extended beyond Confucianism to include Taoism, classical literature, history, and she excelled in painting, calligraphy, poetry, embroidery, and fabric making. In addition to her scholarly pursuits, Shin Saimdang was a talented artist. A famous anecdote recounts how she skillfully painted a grapevine on a lady’s skirt to cover a stain from spilled soup during a banquet, showcasing her artistic finesse.

In 2009, Shin Saimdang was selected to appear on the 50,000 won bill in South Korea. The front of the bill features her portrait alongside her ink-wash painting of grapes on silk and a depiction of insects and plants from her artwork “Chochungdo” on a folding screen. Her son, Yi I, has been featured on the 5,000 won bill since its first issuance in 1972. The reverse side of the bill showcases a mantis, a cicada, and a watermelon, all based on his mother’s artwork. The original 10-panel folding screen, now designated as a cultural asset of Gangwon Province (No. 11), is preserved at the Yulgok Memorial Hall in Gangneung City.

Shin Saimdang’s 50,000 won note and his son Yi I’s picture on the back of the 5,000 won note are also Shin Saimdang’s work (left)/ Han Seok-bong’s Thousand Character Font.

Another notable mother from the Joseon Dynasty was Baek Indang, the mother of the famous calligrapher Han Seok-bong (1543-1605), also known as Han Ho. Born into a noble family in Gaeseong, Baek Indang, after the death of her husband, encouraged her son to become a student of the esteemed scholar Seo Gyeong-deok. She and her son moved to Yeongam in Jeollanam-do, where they supported themselves by selling rice cakes. Han Seok-bong, determined to perfect his calligraphy, promised his mother he would dedicate ten years to studying at a temple on Wolchulsan Mountain, Youngam.

However, driven by homesickness, he returned home after only three years. Disappointed, Baek Indang extinguished the lamp and challenged her son to a competition: cutting rice cakes in the dark while she assessed his calligraphy. Upon seeing his sloppy writing, she scolded him sternly and sent him back to the temple to complete his studies. After seven more years of rigorous practice, Han Seok-bong returned home. At the age of twenty-five, he successfully passed the state examination in first place, establishing himself as a master calligrapher.

This story of the calligraphy competition was recorded in the 19th-century book Dongya Hwiji by Yi Won-myeong and was later included in elementary school textbooks starting in 1945, promoting the idea of “love through discipline.” Han Seok-bong’s calligraphy, noted for its firmness and stability, set the standard for the Cheonjamun (Thousand Character Text) during the Joseon Dynasty.

These stories of Shin Saimdang and Baek Indang exemplify the profound influence of Korean mothers, who nurtured and guided their children to greatness, leaving an indelible mark on the cultural and intellectual heritage of Korea.

Jeju Haenyeo: UNESCO Intangible Cultural Heritage of Humanity

Haenyeo, an exhibition of Jeju haenyeo by photographer Hyung S. Kim, held at the Korean Cultural Center in New York in 2015. Photo: Sukie Park/NYCultureBeat

The Jeju Haenyeo, female divers of Jeju Island, have captivated the world with their remarkable way of life. Unlike the Confucian culture prevalent in Korea, they are a testament to the power of matriarchy, often referred to as “Asia’s Amazons.”  Braving the deep sea without any breathing equipment, these courageous women dive to collect abalone or sea urchins for up to seven hours, facing the threshold of death in extreme conditions. The Haenyeo of Jeju, the southern island of the Korean peninsula, represent the semi-maternal family structure of the island with their independent spirit, strong will and determination.

Their folk songs contain lyrics like “travelling between this world and the afterlife.” There is a saying that “a Haenyeo is a person who earns money in the underworld and spends it in this world.” Jeju, known as a volcanic island with infertile soil unsuitable for farming, compelled the Haenyeo to venture into the sea to make a living. Through the village community and Haenyeo associations, they elevated the status of women in their society. 

Jeju Haenyeos (UNESCO)/ The Haenyeos' Songbook "Iyeo Iyeo Iyeodo Sana" Published by Haenyeo Museum.

During their diving rituals, the Haenyeos perform a traditional shamanistic ceremony to pray for safety and abundant catches, honoring the sea goddess Yongwang Halmoni (Dragon King Grandmother). They also sing folk songs like “Seoujet Sori” to express their feelings, singing instead of sighing while enduring harsh and challenging lives in the rough sea and a weary marriage. The labor songs of Haenyeo are Jeju Island’s intangible cultural asset No. 1, and in 2010, a collection of 150 songs by Haenyeo, “Iyeo Iyeo Iyeodo Sana” (Let’s go to Ieo Island) was published by the Haenyeo Museum.

Dahlia Gustenhaber, an Israeli filmmaker who fell in love with Jeju Haenyeo.

In the meantime, Jeju’s Haenyeo have been known to the world through National Geographic and Magnum Photos (David Alan Harvey)’s black and white photos. Numerous documentaries have also been made about their extraordinary lives. Dahlia Gerstenhaber, a children’s film director from Israel, was deeply fascinated by a picture of a 70-year-old Haenyeo she saw in a diving magazine after receiving a wetsuit as a gift from her husband on her 48th birthday. Since then, she visited Jeju three times, spending nine months living with and documenting the Haenyeo in her documentary “Hae-Nyo, Women of the Sea” (2009).

“Our Mother Stands Alone, the World I Live In With Her

Just because I’m a woman, just because I’m a woman,

Am I incapable of doing men’s work?

Piggybacking loads on my worn-out back, let’s go, hurry!

To the fields where the sun rises, let’s go, hurry!

Let’s go to plow the fields.”

-Choi Jeongja (singer), Virgin Farmer, 1968-

Poster of documentaries, animations, feature films, and short films based on Jeju Haenyeo.

There are other movies centered around Jeju Haenyeo such as “Breathing Underwater” (2016) directed by Ko Hee-yeong, “Diving Women of Jeju-do” (2007) by Barbara Hammer, "Haenyeo: Women of the Sea" (2013) co-directed by Éloïc Gimenez, Alex Igidbashian, and Jeong Daye, as well as the animated film “Grandma Ocean” (2013) by Kang Hee-jin and Han Areum.

Jeju Island has received three designations from UNESCO, including Biosphere Reserve (2002), World Natural Heritage (2007), and Global Geopark (2010). Moreover, Jeju Haenyeo culture was inscribed as an Intangible Cultural Heritage of Humanity by UNESCO in 2016.

*UNESCO, Culture of Jeju Haenyeo (women divers) <YouTube>

Great Women in American History

In March 2020, the History Channel in the United States selected “11 Bold Women Who Changed the World” to commemorate Women’s History Month and International Women’s Day (March 8). This list includes 

1. Sybil Ludington: The Female Paul Revere, 

2. Claudette Colvin: Teenaged Civil Rights Activist, 

3. Jane Addams: Pioneer for Social Change, 

4. Hedy Lamarr: Invented Tech Behind Wi-Fi, 

5. Rosalind Franklin: Revealed DNA’s Structure, 

6. Babe Didrikson Zaharias: First Female Sports Star, 

7. Sojourner Truth: A Voice that Changed a Nation, 

8. Jeannette Rankin: Broke Barriers Before Women Could Vote, 

9. Chien-Shiung Wu: Disproved a 30-year Old Law of Nature, 

10. Marsha P. Johnson and Sylvia Rae Rivera: LGBTQ Activists Who Dared to be Themselves.

https://www.history.com/news/bold-women-who-changed-the-world

Dear fellow Americans,

How many remarkable women do you recognize? Honestly, I can think of just one – the Austrian-born Hollywood star, Hedy Lamarr. Perhaps it's because the United States, in its relatively short history, hasn't produced as many prominent women or female role models as Korea has.

In Korea, role models often emerge from the pages of the country's rich myths and tumultuous history, as well as from the tapestry of everyday life. Conversely, great American women tend to be those highlighted on channels like the History Channel or those who have held the esteemed position of First Lady, such as Eleanor Roosevelt and Jacqueline Kennedy Onassis. The spiritual lessons they can offer as role models for everyday American women may be somewhat limited.

Let's celebrate the diversity of female role models and draw inspiration from their achievements, no matter where they come from.

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. She is also the author of the book recently-published in Korea, "한류를 이해하는 33가지 코드: 방탄소년단(BTS), '기생충' 그리고 '오징어 게임'을 넘어서 (33 Keys to Decoding the Korean Wave: Beyond BTS, Parasite, and Squid Game)."