I attended Korea Animation High School and was a big fan of Japanese manga even back then. My mother suggested that if I loved it so much, I should study abroad in Japan and learn about manga in its natural habitat. This prompted me to research universities where I could study Japanese manga, and I decided to study abroad at Kyoto Seika University, the only university at the time that offered a four-year program to study manga.
So, there wasn’t any particular reason why I chose Kyoto, it was just “the only place I could go,” and I think it turned out to be the right decision.

The hardest part was the loneliness of living away from my parents. However, I came to Japan at the age of 18, so there were parts of me that thought, “This is normal.” The good thing is that
Kyoto is a place that naturally accepts diversity. Foreigners are not treated differently, and there is an atmosphere that “it’s natural to be there.” I still feel that comfort.

I originally studied story manga as a student at Kyoto Seika University in the Manga Department of the Faculty of Arts (now the Manga Department of the Faculty of Manga). I enrolled with the aim of becoming a manga artist, but as I studied I began to wonder how the symbols and other visual expressions in manga are created and how they change, and I wanted to research this, so I went on to graduate school (Master’s and Doctoral programs).
When I finished writing my doctoral thesis, my supervisor introduced me to a job at the Kyoto International Manga Museum, where I’ve continued to this day. Rather than making a clear “career decision,” I arrived at my current position through a natural progression.

There are two main areas.
The first is teaching at university. I belong to the International Japanese Studies course in the Department of Global Studies, Faculty of International Culture, Kyoto Seika University, where I mainly teach students who want to learn about pop culture, especially manga and anime, from a theoretical perspective.

The other is my work at the International Manga Research Center. I’m involved in planning exhibitions and events at the Manga Museum run by Kyoto Seika University, and I respond to inquiries about manga-related projects from both Japan and abroad. In particular, I’m often involved in collaborative projects with overseas partners.
Recently, I was asked by the Office of the United Nations High Commissioner for Human Rights to plan a manga exhibition on the theme of human rights. This exhibition first took place at the Osaka-Kansai Expo, and is currently on display at the Manga Museum, with plans to tour the country in the future.

I started my career as “just a manga fan,” and I’m very happy to be able to meet other people who love manga like me in various places around the world, and to work and talk about manga.
Even if we don’t speak the same language, there are moments when we connect with each other when we talk about our favorite works. I think the best part of this job is being able to find common ground with people who grew up in completely different cultural spheres than me.

The largest number of manga are from French-speaking countries, but other countries include Germany, Italy, Finland, Greece, the UK, Canada, the US, Australia, India, Taiwan, and South Korea. Recently, collaboration with French-speaking Africa has also progressed, and the Manga Museum has planned and held Japan’s first “African Manga Exhibition” (2023).

There are many things I teach in my classes, but one thing I convey is that “Japanese manga and anime are highly acclaimed now, but that was never a given.” There was a time when manga was considered to have a “bad influence on children,” and even the works of Osamu Tezuka were the subject of criticism. But manga has now become a culture that Japan is proud of. I teach about this transition, including its social background. I
also cover a variety of other themes depending on the students’ interests, such as gender, language, genre studies, and research on specific authors.

My only working experience has been at Kyoto Seika University, including the Manga Museum, and I feel that it is a very flat environment where opinions can be exchanged freely.
Also, perhaps due to the characteristics of the Japanese language, I get the impression that communication in the workplace is often based on consideration and compassion. Being in such a culture has made me more mindful of the way I use words and interact with people.

Seven years after coming to Kyoto, I went through a period of struggle with my identity. I took a leave of absence and studied abroad in France and Canada for a year, visiting various places on my own. This allowed me to resolve to live as a “person” unconstrained by the boundaries of nationality.
Even now, I don’t think much about the fact that I’m different from Japanese people or that I’m Korean, and I don’t respond to comments from others; I even try to remain stateless.
 
At the same time, it’s important to understand the values ​​and etiquette of Japanese society and use them appropriately. Kyoto is a great place to cultivate this sense of balance, as there are many foreigners here and you can naturally come into contact with diverse cultures.

Compared to 20 years ago when I first lived in Kyoto, I think things have clearly changed. When I was a student, only about 10-20% of international students found employment in Japan, but now I feel that this percentage is definitely increasing.
Japan is also becoming more aware of creating an environment that welcomes foreigners. However, both the hosting side and the international students need to make an effort to compromise. We need to accept diversity while also trusting each other’s “universal sense” that we humans possess. I believe that by adopting both of these perspectives, we can build better relationships.

This year, my research grant application was accepted, and I am currently conducting research on the theme of “The Reception of Japanese Manga in Europe.” Forty years have passed since Japanese manga was first fully accepted in Western Europe, and something like a unique “manga ecosystem” has formed. I am researching the characteristics of this ecosystem and its influence on Japan. In the future, I would like to continue working to connect people in Japan and overseas through manga, such as by holding an exhibition based on this research at a manga museum.

First and foremost, studying Japanese is extremely important. Language ability is not just a skill; it is also an important key to understanding Japanese culture and society. You don’t need to aim for perfection, but having a “continuous learning attitude” will make your experience richer.
Also, your student days are a precious time when you can come into contact with many different works. Don’t just stick to your favorite manga and anime genres; try new genres too. You’ll surely see a “new world” in front of you.