Artists' Livelihoods at Stake: South Korea's Struggle for Creative Sustainability

The stark reality for many artists in South Korea, especially emerging writers, is a daily battle against their own perceived worthlessness. This struggle is amplified by the financial precarity that defines their professional lives. The recent drama "Everyone is Fighting Their Own Worthlessness" (MoJaMuSsa) touched upon this, featuring a sharp exchange between a filmmaker seeking state funding and an investor who dismisses it as inappropriate for such use. The filmmaker's retort, "State money is for that," underscores the vital role of public support in enabling artistic creation.

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State money is for that.

For many, particularly those who choose to write professionally, the path is fraught with financial insecurity. The article paints a grim picture: after years of conceptualizing and writing, often unpaid, the meager royalties from a book sale, around 1.6 million won after taxes for 1,000 copies sold at 18,000 won each, barely cover expenses, especially when considering the trend of smaller initial print runs. Some artists resort to promoting their own work or engaging in mutual support purchases, only to face the harsh reality that even well-received books may not surpass their initial print run. This leads to feelings of rejection and self-doubt, questioning the very act of creating art.

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How do they live?

The precariousness is further illustrated by accounts of artists working part-time for less than 800,000 won a month to secure writing time, enduring humiliating application processes for short-term grants, and facing stagnant royalty rates for decades. A significant portion of writers earn less than 10 million won annually, with over 60% earning below that threshold. This stark economic disparity within the arts community is a pressing issue, especially when contrasted with the substantial bonuses received by employees in large corporations.

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The reality of being discarded like waste.

This financial instability often forces artists to depend heavily on government grants, which are limited and competitive. Even these support systems can be problematic, as seen with a cultural foundation requiring artists to submit a guarantee insurance certificate to cover potential repayment of grants. Critics argue this administrative burden, framed as a safeguard, disproportionately disadvantages economically vulnerable artists, echoing the struggles of figures like Van Gogh and Lee Jung-seop, who found little financial success during their lifetimes. The article concludes by lamenting the disconnect: art that deeply moves audiences often fails to sustain the lives of its creators, raising questions about the societal value placed on artistic labor.

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The more you touch it from the outside, the less helpful it is.