Ballet troupe demands fair leadership process

Members of the National Ballet of Korea have issued a rare collective statement calling for a “fair and transparent” process in selecting the company’s next director.

On June 6, the dancers posted the statement on their individual social media accounts, describing the National Ballet as “a representative artistic institution of South Korea and a benchmark for Korean ballet.” They urged that the selection of the next director and artistic director prioritize “a deep understanding of professional ballet company operations and artistic expertise.” It is highly unusual for members of a national arts organization to speak out collectively before an appointment has even been announced.

The move reflects growing unease within the company. Since former director Kang Sue-jin stepped down in April, the leadership position has remained vacant. Recently, however, rumors have circulated in the performing arts community that a senior university dance professor with no experience running a professional ballet company, and reportedly linked to Lee Jae-myung’s presidential camp, has been considered as a potential candidate, fueling concern among dancers.

As the controversy escalated, Culture, Sports and Tourism Minister Choi Hwi-young moved to calm the situation on social media, writing that “such a person was never on the candidate list from the beginning.” He also used hashtags reading “#groundless #speechless.” Still, the comments have done little to ease skepticism, as distrust over senior appointments in public cultural institutions has been building for years.

Vacancies in national arts organizations have gradually been filled, but the process has repeatedly drawn accusations of political patronage and “parachute appointments.” In February, actor Jang Dong-jik was appointed chair of the National Jeongdong Theater Foundation. In April, food columnist Hwang Kyo-ik was named head of the Korea Culture and Tourism Institute, while comedian Seo Seung-man was appointed president of the National Jeongdong Theater. Critics in the cultural sector say these amounted to “code appointments” driven more by personal ties to Lee Jae-myung than by relevant professional expertise.

Opposition has intensified. A coalition of 65 cultural and arts organizations and more than 700 cultural figures has called for the appointments to be withdrawn and demanded a merit-based system. The decisions, however, were not reversed. For members of the National Ballet of Korea, watching those developments unfold has reinforced the view that preemptive public opposition may be the only way to prevent similar outcomes.

Allegations of politically driven “parachute appointments” in public institutions are a recurring issue under successive administrations. Critics say cultural leadership posts in particular have come to reflect a persistent perception that the arts are treated as political rewards. When non-specialists are placed in positions that shape the direction of national arts institutions, the impact extends beyond individual organizations and can weaken the broader cultural ecosystem. Yet such key roles continue to be filled through opaque processes, with unclear standards and limited transparency, leaving artists to raise objections only after decisions are effectively made.

The Ministry of Culture, Sports and Tourism recently unveiled its vision for a “400 trillion won K-culture era” to mark the first anniversary of the current administration. But cultural influence ultimately rests on a strong foundation in the arts. Leaders of national arts organizations sit at the center of that foundation, responsible for guiding artistic vision and competitiveness. Moving forward, clearer and more objective appointment standards, along with transparent vetting procedures, are needed. The concerns raised by artists warning against political interference in the arts should not be ignored again.