7 Stories Reading China's Future in 798

798 Art District · Kim Min-geol, Kim Sun-kyung, Kim Yu-jeong, Shin Bo-ram, Oh Seung-hee, Lee Jae-seong, Lee Ju-won

Key Takeaways!

◆ Name: 798 Art District or Dashanzi Art District (大山子藝術區) ◆ Location: Dashanzi Area, Jiuxianqiao, Chaoyang District, Beijing

◆ Visiting Hours: Varies by exhibition hall

Introduction

We have reached the final destination of our field trip, which allowed us to traverse time and space along China's millennia-long history and engage in intellectual exploration. The 'Rise of China' has emerged as one of the most prominent issues in international politics since the 2000s, and discussions continue regarding how the US-China relationship will be reshaped and, consequently, the direction the international order will take. Over the past semester, by examining East Asian history from an international political perspective, we have come to understand that studying history is ultimately about honing a good lens through which to read the present and the future. In this context, for this field trip, 8. 7 Stories Reading China's Future in 798: 798 Art District, we could not help but pursue China's history while simultaneously contemplating issues of the 'future' in the 21st, 22nd centuries, and beyond. Particularly, from an international political standpoint, to gain insights into China's future, it is essential to consider not only phenomena of the last one to two centuries but also to examine China's position within the 'East Asian' space through a longer and deeper historical perspective, considering its relationships with neighboring countries.

If we had engaged in such historical contemplation during the preceding field trip segments, we intended to use the final destination, the 798 Art District, to synthesize these reflections and contemplate China's future. The 798 Art District is not a closed-off space but an open environment where numerous galleries, shops, and artists actively interact. As a space created by diverse actors with different perspectives, our experience and perceptions as visitors were varied. Each of us discovered and reinterpreted the 798 space according to our interests and viewpoints, fostering empathy and learning from each other's thoughts. Amidst the unfolding of seven distinct methods and narratives, the overarching theme is ultimately the process of seeking answers to the questions: "What kind of future can we envision for China?" and "Why are we looking for China's future in 798, rather than in Zhongguancun, a high-tech science park akin to Yongsan in Korea?" Through this process, we gained seven stories imbued with individual personalities and found ourselves deeply contemplating the future of China we will encounter.

First Encounter with 798 Art District

Sunkyung's Story: 798 Art District, a Symbol of Beijing's Present and Future

The two days in Beijing, spent together from morning till late night, passed quickly, and it was finally our last day. After Jaeseong's presentation at the Capital Museum, we headed to our final destination, the 798 Art District. Everyone felt relieved after completing their presentations and arrived at 798. The 798 Art District was originally a munitions factory built with Soviet and German technology. After the Cold War ended, artists began to rent spaces here due to low rent and good accessibility, gradually forming the art district. The name '798' itself comes from the fact that the first area occupied by artists among the various munitions factories was located in Factory 798. Thus, the art district became the center of Beijing's art scene and is now expanding its influence as an international art city.

8. 7 Stories Reading China's Future in 798: 798 Art District

As the saying goes, "Even the grandest sight is not as good as a good meal," so before exploring the art district, we looked for a place to eat lunch. Unlike other areas, most restaurants in the central area of 798 were Western-style restaurants or cafes, making it difficult to find a Chinese restaurant. After searching for a Chinese restaurant, we entered one located on the left side of a small alley. As usual, PD Kim (Teacher Kim Ga-hyun) and Seunghee unnie, our experts in choosing food, ordered the dishes, and we got to taste a variety of Chinese cuisine. After lunch, with a coffee in hand, we began to explore 798 in earnest. Walking through the streets of 798, I felt it was quite different from the Beijing I had seen so far. If I described the Beijing city center as somewhat rigid, this place felt soft and free. Perhaps it was partly due to the clear sky, but it reminded me a bit of Samcheong-dong in Korea, while the red brick buildings evoked a German street, creating a unique atmosphere. The main street of 798 was lined with seemingly expensive Western restaurants and cafes, and there were shops selling fashion items like clothes and accessories, galleries, and large art installations. Perhaps because it was winter, there weren't many people on the streets, and the weather was good, making it perfect for a stroll. Unfortunately, with limited time before our departure, we focused on visiting the main exhibition halls of 798. Seunghee's Story: Encountering a Street of Leisure and Romance

After finishing our viewing of Buddhist statues at the Beijing Capital Museum, we headed to the 798 Art District, trying to soothe our lingering feelings. We decided to experience China's future through contemporary Chinese artworks.

For our last lunch, we chose a restaurant within the 798 Art District. The place we originally intended to visit was famous for its Qing Dynasty cuisine. However, on our way to the restaurant, we encountered numerous eateries and cafes throughout 798, and we ended up entering the most eye-catching one. This lunch felt as if we were dining in an exhibition hall. The paintings densely displayed in the restaurant's hallway reflected the atmosphere of the 798 Art District.

After finishing our meal, we felt the leisure and romance emanating from the alleys of the 798 Art District. Simply walking through the alleys revealed countless installation artworks. There were many free exhibition halls, as well as paid ones. The first place we visited was a paid exhibition hall called UCCA. 8. 7 Stories Reading China's Future in 798: 798 Art District Min-geol's Story: Aesthetics Embracing the Future (未來)

As our two-day encounter with Beijing and Sarangbang in 2014 drew to a close, we visited the 798 Art District, where contemporary Chinese artists are active. Our purpose was not merely to cleanse our bodies, tired from the long bus ride and walking in the cold, by appreciating elegant artworks. Rather, it was to broaden our perspective, which had been focused on analyzing immediate phenomena with reason and logic, to the realm of 'aesthetics' (美學) for the future, enabling us to view the world with a longer and wider outlook. 'Future' (未來), by definition, is the most common human concern, instinct, and desire across all times and cultures to understand as accurately as possible what the future will look like.

This pursuit, along with Teacher Ha Young-sun, has been the focus of our international politics studies at Sarangbang for the past semester, and it will continue to be so. Under the guiding question, 'Historical Transformation of the East Asian Order: From Ancient World Order to Contemporary Complex Order,' we have continuously strived to foresee the future world, international, and regional orders envisioned by China, which has emerged as a key player on the global stage in the 21st century. As Teacher Ha Young-sun stated, to glimpse what is contained and what is missing in China's 'blueprint for the future,' we have diligently listened to the words of high-ranking officials and carefully read the writings of renowned scholars, pondering their underlying meanings.

However, is studying logic and analyzing figures alone sufficient to depict the landscape of 21st-century global, international, and regional politics, including China? Since a militarily strong, economically prosperous, and culturally flourishing nation will be the protagonist leading the 21st-century world, accurately envisioning the future of any country requires assessing not only its military and economic power but also the brilliance of its artistic imagination. For us, accustomed to contemplating the meaning of words and texts in our minds, the 798 Art District, filled with artworks of diverse forms and colors, offered an opportunity to 'feel' China's future by riding the imagination of free-spirited artists. Will China, undoubtedly stronger and more prosperous than in the past, possess a flourishing charm capable of captivating the world in the coming future?

What Happened at UCCA

Our first stop in 798 was the Ullens Center for Contemporary Art (尤倫斯 当代藝術中心). Located in the heart of 798, UCCA is a non-profit independent art center founded in 2007 by the Belgian couple Guy Ullens and Myriam Ullens. Established with the aim of promoting Chinese art and fostering international art exchange, it now attracts numerous tourists. The center exhibits works by both Chinese and international artists, offering a diverse and creative world of art. Notably, there were spaces where visitors could directly interact with and experience the artworks, making our visit engrossing. 8. 7 Stories Reading China's Future in 798: 798 Art District

Yu-jeong's Story: China's Imagination Glimpsed at UCCA

The sensitive perceptions of artists and the broad emotions expressed in their works always stimulate the imagination of viewers, reminding them of forgotten creativity. When thinking of China, one might easily conjure an image of a paradise for counterfeits, often referred to as 'fake.' Therefore, a key point of interest was whether the 798 Art District could shatter this prejudice. Although we couldn't visit many galleries, the artworks at UCCA did not strike us as significantly inferior compared to contemporary art pieces we had seen in Korea. Particularly captivating were the 'interactive' works that allowed viewers to walk on or look inside them. It felt like an attempt by the artist not merely to install but to complete the artwork collaboratively with the audience, making the viewing experience quite engaging. The way viewers moved on or between the artworks seemed to become an integral part of the piece itself.

However, it was somewhat disappointing that the exhibited works were not groundbreaking enough to defy imagination. Creating art is not an easy task, and while I do not intend to devalue the displayed pieces, they felt slightly lacking, falling short of expressing imagination that far transcends existing thought frameworks. This suggests that China, positioned relatively on the periphery of the Western-centric art world, is not a leader but has reached a certain level as a follower. Of course, due to the nature of art, there is ample room for vastly different evaluations depending on the perspective of the viewer and interpreter. Considering this, it remains difficult to give a readily positive answer regarding whether China's imagination possesses the potential and possibility to lead the contemporary art scene. On the other hand, I also wonder if this assessment is overly defined by a Western-centric mindset. Nevertheless, compared to the potential embedded in the ceramics and Buddhist statues that led the 'civilizational standards' of their time, as seen in the National Museum and Beijing Capital Museum, contemporary China seems to be not yet fully radiating its charm. Chinese people seem to have long utilized diverse forms and vibrant colors, which are not often found in Korean museums. This might be partly due to the presence of various ethnic groups across a vast territory, but the experience of cultivating civilization and culture within such diversity would form a foundation of identity entirely different from those who have not directly experienced it. Therefore, what civilizational standards China will present in the 21st century, and indeed the 22nd, and with what imagination it will engage the world, are questions that require ongoing observation.

Min-geol's Story: China's Future Embedded in Color (色相) and Form (形相) While visiting about three art museums, I searched for works that could convey the potential and limitations of contemporary China. Just as one cannot view exhibits solely based on pure aesthetic value, I could only approach them from the familiar perspective of international politics. Despite my lamentable lack of artistic sensibility, I was cautious about evaluating the artists' dedicated efforts in infusing color and form with inspiration using criteria other than aesthetics, when a particular work in the UCCA exhibition hall caught my eye.

Although I committed the rudeness of not even properly checking the artist's and artwork's names, I sensed both the potential and limitations of China's future artistic capabilities on the world stage through this work's colors and forms. What was impressive about this piece was the arrangement of bright, warm colors like red, orange, and purple, and words signifying love, peace, and happiness, forming a path. It resembled a garden where one could leisurely stroll along a path lined with various blooming flowers. The words, written in Chinese characters or English, generally carried the meaning of 'harmony' (調和), coexisting peacefully in both Eastern and Western cultures. It seemed to embody China's traditional philosophy of governance, ruling with virtue rather than overwhelming opponents with force or bribing them with money. Perhaps China has long possessed a solution to the ills of Western-style international politics driven by violence and wealth. If so, will future China emerge as a nation attractive enough for people worldwide to embrace and love in the 21st century?

Of course, I also sensed limitations underlying that potential. Traditional expressions might simply be a naive repetition of the assertion that 'everything will be fine if we live as we used to, which we have forgotten for a while.' The path to a better future can only be found by seeking new directions, avoiding the pitfalls of repeating the past and perpetuating the present. Only when China's artistic imagination transcends mere nostalgia or indiscriminate imitation can China's future possess colors and forms imbued with flourishing charm, alongside strong military power and prosperous economy.

Mansudae Art Museum: Discovering the Korean Peninsula in Beijing

Seunghee's Story

The North Korean painting exhibition at the Joseon Mansudae Art Museum, which we visited next, was also very impressive. Encountering North Korean paintings in China felt both familiar and strange. There were paintings of tigers, scenes of daily life, and ceramics on display, all exuding a cool, sharp feeling with a predominantly blue hue. Right in front of the exhibition hall, I exclaimed again upon spotting a poster for a Chinese product advertised by Jun Ji-hyun. It was a space where I felt a sense of welcome and awkwardness stemming from the triangular relationship between Korea, North Korea, and China. 8. 7 Stories Reading China's Future in 798: 798 Art District Yu-jeong's Story: Then, What About North Korea's Imagination?

North Korea is always a presence that is both close and distant. Opportunities to directly visit North Korea and meet its people are rare; instead, we often encounter it in entirely different spaces like this.

The visit to the Joseon Mansudae Creation Art Museum was, in a way, an encounter with North Korea far away in Beijing, having left the Korean Peninsula. While visiting UCCA, we contemplated the extent of China's imagination and whether it could produce civilizational standards capable of leading the world in the future. Similarly, at Mansudae, we sought to assess the level of North Korea's imagination.

The interior of the art museum was not very large, but the walls were covered with artworks, and there was a small souvenir shop at the entrance and a space inside where artworks were stacked. It was impressive that not only propaganda slogans filled the works, but many paintings with warm colors and gentle emotions were also found. What I found particularly interesting, unlike UCCA, was that there were no abstract paintings; all were representational paintings expressing concrete forms and colors. While various reasons could be considered for this, it is necessary to consider whether the rigidity of North Korea's political system allows limited space for artistic imagination. Although not always the case, the limited scope of imagination among artists suggests that the general thinking of North Koreans might be more rigid and conformist to the system. It is necessary to carefully consider how much South and North Koreans, whose material living bases and mental frameworks differ, can truly harmonize, and what forms of exchange and integration should precede unification, if it is to be pursued.

Although the interior space of the art museum was not very large, the walls were filled with artworks, and there was a small souvenir shop at the entrance and a space inside where artworks were stacked. It was impressive that not only were the works filled with propaganda slogans, but a considerable number of paintings with warm colors and soft emotions were also found. What I found more interesting, unlike at UCCA, was that there were no abstract paintings at all; all were representational paintings expressing concrete forms and colors. While various reasons need to be considered for this, it is worth contemplating whether the rigidity of North Korea's political system allows sufficient space for imagination for its artists. Although not necessarily the case, the limited scope of imagination among artists suggests that the general thinking of North Koreans is likely more rigid and system-conforming than that. It is necessary to carefully consider how well South and North Koreans, whose spiritual and ideological foundations differ not only due to differences in material living conditions but also in their ways of thinking, can truly get along, and what forms of exchange and integration should precede if unification is to be pursued.

8. 7 Stories Reading China's Future in 798: 798 Art District

While it was novel and somewhat comforting to encounter North Korea in distant Beijing, it also left us with more questions. While contemplation at the macro level of nation and history is meaningful, I find it enjoyable to sometimes engage in existential contemplation at the level of daily life. The visit to the Joseon Mansudae Creation Art Museum prompted the fresh question: 'What would it be like to meet North Koreans directly?'

Can We Truly Discover China's Future in 798?

Ju-won's Story: 798 Art District as the Venue for the Grand Finale This was the final segment of our field trip, a visit to the 798 Art District with Teacher Ha Young-sun. Everyone seemed relieved as their presentations were concluded. Thus far, we had examined the beginning and development of China's world order at the National Museum, and how that order intertwined with our history at the Forbidden City and the Glass House. While we glimpsed the complex rule of the Qing Dynasty through Tibetan Buddhist statues at the Capital Museum, we listened to the variations where the world order blended with Western order at the Old Summer Palace and the Summer Palace. Finally, on our last day, after appreciating the image of contemporary China at the Mausoleum of Mao Zedong, we headed to the 798 Art District to survey China's dreams and future. We had reached the conclusion of the fourth story of Sarangbang.

Our guide to the 798 Art District was none other than Teacher Ha Young-sun. In our regular Sarangbang classes, Teacher Ha often mentioned that signs of changes in world order tend to appear first in art. Therefore, for her, this place, exhibiting the most free and creative works in China, seemed to be a venue for foreseeing a new order. It was truly fortunate to be able to explore the 798 Art District under her guidance.

8. 7 Stories Reading China's Future in 798: 798 Art District Jae-seong's Story: 798 Art District, A Living Factory

Located on the route from Beijing city to Beijing Capital International Airport, the Dashanzi 798 Art District was formerly a munitions factory during the Cold War. After the end of the Cold War, it became a廃工場 (abandoned factory), but starting in 2002, artists began renting and using this abandoned factory, leading to its rebirth as a street of culture and art. Remnants of the former munitions factory, such as abandoned railway tracks, rusty pipes, and cement walls discolored by mold, can still be found. While exploring the artworks in the 798 Art District, a Chinese film suddenly came to mind. The movie was titled 'The Banquet' (夜宴), released in 2006. This film is set during the chaotic period of the Tang Dynasty's decline and the advent of the Sixteen Kingdoms period. The plot involves the emperor's brother killing his brother to seize the throne and the empress, and attempting to assassinate the crown prince. Meanwhile, the crown prince realizes his uncle murdered his father and vows revenge. Does this plot sound familiar? This film is, in fact, based on Shakespeare's Hamlet.

I suddenly wondered if the 798 Art District, like the film 'The Banquet,' is producing new culture by adding Chinese characteristics to Western art and culture. To resolve the question of what the 798 Art District signifies, I decided to consider its location. As mentioned above, the 798 Art District is located in Beijing. In my opinion, Beijing is like a set constructed by China. In the center of Beijing lies the Forbidden City, showcasing China's long history. Opposite it, the Mausoleum of Mao Zedong and the Monument to the People's Heroes vividly display China's modern history and ideology. Then, what aspect of contemporary China does the 798 Art District, which only emerged in the 2000s, represent, and why does it remain in Beijing? How should we understand this place, reborn as a street of culture and art? In the Cold War era, it was a factory producing 'material' to support the 'spirit' of Chinese ideology. However, it now serves as a factory and laboratory for producing a new Chinese spirit by infusing Chinese ideology with Western thought. This signifies not just a change in China but perhaps the commencement of China's endeavor to produce new civilizational standards.

Although Beijing was once an experimental ground for renowned Western architects, Chinese President Xi Jinping's statement in October 2014 that Beijing should no longer build bizarre architecture indicates that the experimental combination of Beijing and the West ended in failure. Whether the combination of Chineseness and Western thought occurring in the 798 Art District will end in 'bizarreness,' as President Xi Jinping described, or succeed in discovering a new Chinese spirit, remains to be seen.

798 Art District, From the Periphery to the Center?

Boram's Story My first encounter with contemporary Chinese art was in Hong Kong in 2013. The exhibition was themed 'Greed,' and the artist's perspective on capitalism, having grown up under a socialist system, was not the 'obvious' criticism we might expect. The artist's work, reflecting 'desire for consumption' and 'contradictions in ideology,' challenged my own understanding of the relationship between 'consumption' and 'politics.' Therefore, I had great expectations for visiting the 798 Art District. I was curious to see how young Chinese artists depicted China's past, present, and future, and what kind of discourse they could generate.

Furthermore, it was a golden opportunity to purchase exhibition catalogs by Zhang Xiaogang and Wang Guangyi, artists I had been following. China is undertaking large-scale, state-level support for contemporary art. Chinese contemporary artworks are also 'hot' and popular items in the art market. Young Chinese artists are making strenuous efforts to elevate Chinese contemporary art from the 'periphery' to the 'center.' Fueled by these efforts, the 798 Art District has been transformed into a hub of contemporary art and a sophisticated cultural space.

Originally, the 798 district was an industrial area. It housed weapon factories built in the 1950s through technical exchange with the Soviet Union and East Germany. While production was active even in the 1970s, the area began to decline in the 1980s, and by 1990, all the factories there had closed. In 1995, the Central Academy of Fine Arts in Beijing relocated to the abandoned factory site, giving it new life. This area, which became a space for art exhibitions, still retains old machinery and socialist slogans written in red paint.

This is a testament to art being 'creation through (re)interpretation.'

I was initially a bit disappointed by the 'sophistication' of the area, which exceeded my expectations. Numerous art galleries of various sizes dotted the alleys, but they were outnumbered by even more sophisticated restaurants, coffee shops, and workshops. I entered one of these establishments for my last lunch in Beijing, enjoyed an elegant coffee, and then began a thorough visit of the art galleries one by one.

I felt that [UCCA] was a space where one could simultaneously witness the diverse aspects and interrelationships of art and power. It showcased various forms of artistic expression, from North Korean art at Mansudae, which embodies the idealization of national and folk heroes through socialist realism, to the performance art at the UCCA Center for Contemporary Art ('art for viewing'), and even participatory art ('art of re-creation') where the audience actively engages within the artwork, becoming the 'subject.' It demonstrated the process of artistic creation in its diverse forms.

Ironically, I felt that China was both a step ahead and a step behind what I had imagined. The 'historical issues' that young Chinese artists grappled with in the early 2000s were difficult to find in the works at 798. I am unsure whether this signifies a departure from the history experienced by the Chinese people towards the future, or a process of amnesia where history is being 'buried.' Perhaps I failed to recognize the improvements expressed in a more modern way. Ultimately, I left the 798 Art District with lingering questions. As I returned with the coveted Zhang Xiaogang catalog, I once again contemplated the meaning of being a leader in art and whether China could truly fulfill this role. 8. Seven Stories Reading China's Future in 798: The Story of Seonkyung in the 798 Art District

In addition to UCCA, the other exhibition halls we visited presented contemporary artworks on diverse themes and subjects. While exploring the exhibition halls and walking through the streets of 798, I contrasted it with the tourist attractions I had seen in Beijing. The glass-walled buildings, the Forbidden City, the Summer Palace, the Old Summer Palace, the Capital Museum, and the National Museum all showcased traditional China, while the Mao Zedong Memorial Hall represented modern China. In contrast, the 798 Art District offered abundant glimpses of contemporary and modern China. Throughout the art district, information about upcoming international exhibitions, art events, and cultural festivals was readily available. The streets were alive with graffiti art and dancing people, presenting a vibrant and free-spirited Beijing.

In contrast to the National Museum, the Forbidden City, the Summer Palace, the Old Summer Palace, the Capital Museum, and the Mao Zedong Memorial Hall, which we visited earlier and displayed China's history, 798 seemed to symbolize a new China and its future. For millennia, China was the center of East Asia, but it experienced decline after being defeated in the civilizational clash with the West in the 19th century. However, following the Cold War, China has rapidly achieved economic growth and is once again emerging as a global center. The growing voices for freedom and democratization in Chinese society, and China's rise as a global superpower, bear a striking resemblance to the emergence of the 798 Art District as an international cultural city. I cautiously speculate that the 798 Art District may represent China's ambition to embrace globalization while preserving its civilization, culture, and history, reinterpreting them in a modern context to reshape the global landscape with its unique Chinese identity. Although I wished I could have explored the art district further due to its many attractions, the accumulated tension had released, and feeling tired, I happily got into the car heading to the airport.

If the National Museum, the Forbidden City, the Summer Palace, the Old Summer Palace, the Capital Museum, and the Mao Zedong Memorial Hall presented the history China has traversed, 798 seemed to symbolize a new China and its future. For thousands of years, China was the center of East Asia, but it experienced decline after clashing with Western civilizations in the 19th century. However, post-Cold War China has achieved rapid economic growth and is once again emerging as a global center. The growing voices for freedom and democracy in Chinese society, and China's rise as a global hegemonic power, bear a striking resemblance to the 798 Art District's emergence as an international cultural city. I cautiously hypothesize that the 798 Art District might be a place where China's ambition is evident: to embrace the trend of globalization while preserving its civilization, culture, and history, reinterpreting them in a modern context to once again change the global order with its unique Chinese colors. Although I regretted not being able to explore the art district further due to its many attractions, the tension I had accumulated eased, and feeling tired, I happily boarded the car to the airport.

Seunghui's Story

Across from the Mansudae Art Gallery, an intriguing video work was on display. It depicted a man, with events unfolding in reverse chronological order. The work captivated many viewers, drawing them in with its compelling narrative. 'What on earth happened to that man?' I found myself repeatedly watching, which led me to ponder if our examination of past history follows a similar process. Knowing the outcome of events that have already occurred, we speculate about what happened previously, moving backward in time. Through the process of piecing together these fragments of mystery, our interest intensifies, and we are sometimes surprised by unexpected discoveries. At other times, we confirm that what began as seemingly unremarkable was indeed so. It was a time that fostered affection and wonder for human thought and imagination.

I visited a bookstore and browsed through catalogs of various artworks. Naturally, the pieces I had seen in person caught my eye. We concluded our visit to the 798 Art District according to the schedule for our 6 PM return flight. We took a group photo on the railway tracks, trying to alleviate our lingering sense of regret. The 798 Art District seems to offer a different experience each time one visits. I hope to see works by Korean artists on my next visit. Above all, I anticipate that this space will become more vibrant, embodying a freer and more creative image of China. ■

Appendix • EAI Sarangbang Fall 2014 Program • EAI Patrons EAI Sarangbang Fall 2014 Program “Architects of East Asian Order: From Ancient Tianxia to Future Complexity” Week 1 Architects of East Asian Order Week 2 Origins of Tianxia Order Week 3 Formation of Tianxia Order Week 4 Development of Tianxia Order Week 5 Thesis Research Proposal Presentation Week 6 Transmission and Transformation of 'Jinsu' Civilization Week 7 The Myth of Japanese Pan-Asianism Week 8 Cold War Order I: The Tragedy of the Korean War Week 9 Mid-term Thesis Presentation

Week 10 Cold War Order II: US-China Détente and the Pros and Cons of the July 4th South-North Joint Communiqué Week 11 Complex Order I: The Rise of China

Week 12 Complex Order II: The Future of the US-China Era

Week 13 Complex Order II: Aesthetics of Constructing a New East Asian Order Week 14 Final Thesis Presentation

Week 15 Beijing Field Trip

The Young Ones

Of Sarangbang

Embracing Beijing Patrons of the East Asia Institute: Kang Myung-hoon, Kang Eun-mo, Kang Chan-soo, Kang Hyun-wook, Ko Byung-hee, Ko Seung-yeon, Ko Hye-sun, Gong Seong-won, Gong Jeong-moon, Gong Chang-wi, Gu Sang-hwan, Gu Yun-jeong, Gu Jun-seo, Kwon Se-rin, Kim Ga-hyun, Kim Geon-min, Kim Kyung-soon, Kim Kyung-ji, Kim Kwang-deok, Kim Guk-hyung, Kim Ki-jeong, Kim Ki-jun, Kim Nam-hee, Kim Dae-young, Kim Dong-geon, Kim Dong-ho, Kim Man-ho, Kim Min-kyu, Kim Byung-guk, Kim Byung-pyo, Kim Byung-hee, Kim Bong-ha, Kim Sang-rae, Kim Su-jin, Kim Shin-hwa, Kim Shin-hee, Kim Young-seok, Kim Young-goo, Kim Young-seop, Kim Young-won, Kim Yong-kyu, Kim Yong-nam, Kim Won, Kim Yu-sang, Kim Yu-ju, Kim Eun-sun, Kim Eun-young, Kim Jae-doo, Kim Jeong, Kim Jeong-seop, Kim Jeong-on, Kim Jeong-eun, Kim Jeong-ha, Kim Ji-yoon, Kim Ji-tae, Kim Jin, Kim Jin-young, Kim Jin-hyuk, Kim Chang-soo, Kim Tae-gyun, Kim Han-ki, Kim Hyun-seong, Kim Hyun-jeon, Kim Hyung-woon, Kim Hyung-chan, Kim Hee-jeong, Kim Hee-jin, Nam Yoon-ho, Seo Eun-suk, Seo Jeong-won, Seo Hee-jeong, Seon Seung-hoon, Seong Jeong-eun, Song Ki-choon, Song Woo-yeop, Song Ji-yeon, Song Woo-yeop, Song Ji-yeon, Shin Dong-won, Shin Myung-cheol, Shin Bo-hee, Shin Sang-hwa, Shin Seong-soo, Shin Seong-ho, Shin Young-jun, Shin Young-hwan, Shin Jun-hee, Ahn Yong-chan, Ahn Gu, Ahn Jung-ik, Ahn Hyun-jeong, Ahn Hyun-ho, Yang Ho-sil, Uhm Chan-seop, Yeo Dong-chan, Yeo Hyun-jeong, Oh Mi-kyung, Won Jong-sook, Woo Seung-hoon, Yu Jae-seung, Yu Jeong-seok, Yu Ji-young, Yu Chang-soo, Yuk Eun-kyung, Yoon Byeong-seok, Yoon Young-doo, Yoon Yong-jip, Yoon Woo-seong, Yoon Jae-hoon, Yoon Jeong-rim, Yoon Jeong-seon, Yoon Chang-min, Yoon Hye-seong, Lee Dong-hoon, Lee Min-gyu, Lee Beom-joo, Lee Bong-jae, Lee Sang-won, Lee Sang-hoon, Lee Seung-hoon, Lee Shin-hwa, Lee Yeo-hee, Lee Young-seok, Lee Won-jong, Lee In-ok, Lee Jae-seop, Lee Jeong-eun, Lee Jeong-ho, Lee Ho-jun, Lee Hong-gu, Lee Hong-jae, Lee Hee-jeong, Lee Na-young, Lee Dong-hoon, Lee Hae-wan, Lee Hyun-ok, Lee Hyun-hee, Lee Ho-jun, Lee Hong-gu, Lee Hong-jae, Lee Hee-jeong, Lee Na-young, Lee Dong-hoon, Lee Hae-wan, Lee Hyun-ok, Lee Hyun-hee, Lim Ji-soon, Lim Hyun-mo, Lim Hyun-jin, Im Hong-jae, Jang Dong-woo, Jang Se-rin, Jang Se-hyung, Jang Jae-hoon, Jang Jun-hyuk, Jang Jin-ho, Jang Hee-jin, Jeon Kyung-soo, Jeon Myung-sun, Jeon Hye-jin, Jeong Ki-yong, Jeong Rang-ho, Jeong Dong-hyun, Jeong Seok-hee, Jeong Young-jin, Jeong Yong-hwa, Jeong Won-chil, Jeong Yun-seok, Jeong Yun-ho, Jeong Jae-gwan, Jeong Jin-young, Jeong Hyun-yoon, Jeong Hyun-ju, Jeong Hyun-cheol, Jo Gyu-nam, Jo Gyu-wan, Jo Dong-hyun, Jo Eun-hee, Joo Young-ah, Ji Hye-ri, Jin Seon-hee, Jin Jae-wook, Cha Guk-rin, Cha Dong-min, Chae Gyu-min, Chae Gyu-ho, Choi Geon, Choi Gyu-nam, Choi Dong-gyu, Choi Byung-gyu, Choi Bok-dae, Choi Jong-ho, Choi Jun-won, Han Geum-hyun, Han Sang-cheol, Han Suk-hyun, Han Seung-hye, Han Il-bong, Han Jeong-won, Han Ji-hyun, Heo Se-hong, Hong Seong-woo, Hong Seong-won, Hong Ho-young, Hwang Soo, Hwang Jeong-won, Hwang Jun-ho, W1°

Lee Seo-hyun, Lim Ji-soon, Ju Hyeon-seon, Lee Seon-ju, Im Hyun-mo, Ju Young-ah, Lee Seon-hee, Im Hyun-jin, Ji Hye-ri, Lee Seong-ryang, Im Hong-jae, Jin Seon-hee, Lee So-min, Jang Dong-woo, Jin Jae-wook, Lee Sook-jong, Jang Se-rin, Cha Guk-rin, Lee Seung-hoon, Jang Se-hyung, Cha Dong-min, Lee Si-yeon, Jang Jun-hyuk, Chae Gyu-min, Lee Shin-hwa, Jang Jin-ho, Chae Gyu-ho, Lee Yeo-hee, Jang Hee-jin, Choi Geon, Lee Young-seok, Jeon Kyung-soo, Choi Gyu-nam, Lee Won-jong, Jeon Myung-sun, Choi Dong-gyu, Lee In-ok, Jeon Hye-jin, Choi Byung-gyu, Lee Jae-seop, Jeong Ki-yong, Choi Bok-dae, Lee Jeong-eun, Jeong Rang-ho, Choi Jong-ho, Lee Jeong-ho, Jeong Dong-hyun, Choi Jun-won, EAI Publications EAI Diplomacy and Security EAI Public Opinion Analysis Research

1. North Korean Nuclear Crisis and Peace on the Korean Peninsula 1. The Roh Moo-hyun Administration's Dilemma and Choices: Public Opinion · 2. 2020 China Risk: Medium- to Long-Term Forecasts of the Chinese Economy and Policy Choices for a Minority Government

Risk Analysis 2. South Korean National Identity and Korean Politics

3. ROK-US Security Cooperation in an Era of Transformation: Rebuilding Command Relations for the Future 3. Changing South Korean Voters: Insights from Panel Surveys

May 31 Local Elections

4. East Asian Community: Myth and Reality 4. Changing South Korean Voters II: Insights from Panel Surveys 5. 21st Century New Alliances: From Cold War to Complexity 2007 Presidential Election

6. North Korea 2032: A Coevolutionary Strategy for Advancement 5. Changing South Korean Voters III: Insights from Panel Surveys 7. Talking About China's Future: Possibilities and Prospects for a Global Superpower 18th National Assembly Election

8. Japan and East Asia: Regional Cooperation and Community Building 6. Changing South Korean Voters IV: Insights from Panel Surveys 2010 Local Elections

9. Crisis and Complexity: The World Order After the Economic Crisis 7. South Koreans, Who Are We?: Korean Identity Through Public Opinion Polls 10. East Asian International Politics: From History to Theory

11. US-China Relations 2025 8. Changing South Korean Voters V: Insights from Panel Surveys 12. Ha Young-sun's International Politics Columns 1991-2011 · Part I 2012 General and Presidential Elections

13. Ha Young-sun's International Politics Columns 1991-2011 · Part II

14. Global Development Cooperation Governance and Korea EAI Sarangbang Travelogue

15. Inter-Korean Economic Cooperation Strategy for Coevolution: Joint Consultation for Conservatives and Progressives 1. Sarangbang's Young Ones: Embracing Beijing

16. 2020 Top 10 Tasks for South Korean Diplomacy: Complexity and Coevolution

17. Korean Peninsula Trust-Building Process 2.0: Promoting Deterrence, Engagement, and Trust through Coevolution 2. Sarangbang's Young Ones: Embracing Kyushu

18. 1972: The Korean Peninsula and the Four Major Powers 2014 1. Between Compliance and Conflict: East Asia,

EAI English Books

Latin America, and the “New” Pax Americana EAI Governance Research 2. Power and Security in Northeast Asia: Shifting

1. Conditions for Successful Political Reform: From Power Struggles to Policy Competition

Strategies

2. Political Reform and National Assembly Reform: Recollections and Prospects from the Field

3. Party Politics in East Asia: Citizens, Elections,

3. Conditions for a Successful National Assembly: Ethics and Policy

and Democratic Development

4. Democracy that Revitalizes the Economy

4. Collective Violence in Indonesia

5. Decentralized Constitution: The Path to Advancement

5. Public Diplomacy and Soft Power in East Asia 6. The Park Chung Hee Era: The Transformation of

6. Conditions for a Successful Presidential Transition: 67 Days That Determined 5 Years

South Korea

7. Future of North Korea 2032: Coevolutionary

7. Future of North Korea 2032: Coevolutionary

Strategies

Strategies

Strategy for the Advancement

7. How Did Conservative Politics Survive?: Britain

History of the Conservative Party

EAI English Journal

8. The Second Act of Globalization: A New Conception of Korean-Style Globalization

9. Conditions for a Successful Presidency in 2013 Journal of East Asian Studies (SSCI Indexed Journal) 2001- 10. Japan's Resurgence Leadership: Post-War Japan's Crisis and

Reconstruction

11. Social Responsibility, Social Enterprise