Korean dramas have transformed ordinary office environments into compelling storytelling landscapes, using workplace customs and social hierarchies as powerful narrative tools. These shows mirror modern Korean work life by incorporating daily office rituals into rich storytelling codes that reveal character relationships, power dynamics, and cultural values unique to Korean society.
Like workplace television around the world, K-dramas frequently unfold within office walls where ambition, romance, and rivalry form part of the daily grind. However, Korea's office dramas carry a distinctly local flavor that sets them apart from their international counterparts. They follow a social choreography unique to Korean work culture, incorporating everything from hoesik (after-work gatherings) to the deeply ingrained tradition of addressing colleagues by their professional titles rather than their personal names.
To international viewers, these customs may appear both fascinating and foreign, creating an intriguing window into Korean professional culture. Within K-dramas, however, these workplace traditions serve as essential storytelling tools that function as subtle markers of power, intimacy, and respect. By grounding the genre in authentic cultural practices, these shows turn office life into a detailed microcosm of the country's broader social order.
One of the most distinctive aspects of Korean workplace culture depicted in K-dramas is the practice of speaking in titles rather than names. In Korean workplaces, professional titles take precedence over personal names in all interactions. Instead of using first names, employees consistently address each other as "Kim daeri" (Assistant Manager Kim) or "Park gwajang" (Manager Park). In K-dramas, these titles function as more than simple job labels – they serve as linguistic markers that carefully map relationships and boundaries, with factors like age, experience, and position dictating how people speak and behave toward one another.
The popular series "Itaewon Class," starring Park Seo-jun, provides an excellent example of this title-based communication system. The show follows Park Seo-jun's character as he earns the prestigious title "Park Daepyo-nim" (CEO Park), marking a transformation that is as much linguistic as it is professional. Each title carries significant symbolic weight, from "daeri" (assistant manager) to "bujang" (department head) to the ultimate "daepyo" (CEO). K-drama writers strategically use these labels to track power shifts, emotional distance, and even romantic relationships that cross corporate boundaries.
Perhaps the most emblematic ritual of Korean office life featured in K-dramas is the "hoesik," or after-hours gathering centered around food and drinks. These events represent far more than casual nights out – they are treated as essential team-bonding rites and social extensions of professional life. Hoesik gatherings serve dual purposes, functioning both as relationship-building opportunities and as informal venues where workplace hierarchies are reinforced through social interaction.
Office K-dramas frequently stage their most critical and revealing moments within these hoesik scenes. In the acclaimed series "Misaeng," the hoesik exposes the hidden office politics and survival strategies that junior staff must navigate in their daily work lives. Meanwhile, in "What's Wrong With Secretary Kim," these after-work gatherings become romantic catalysts that blur the traditionally clear lines between professionalism and personal feelings.
The small customs commonly depicted in K-drama hoesik scenes include elaborate drinking etiquette that reinforces workplace hierarchies. For instance, junior employees are expected to politely turn away when drinking in front of a superior, and they must offer the first drink to the most senior person present as a sign of respect. These moments focus less on alcohol consumption than on hierarchy and deference, serving as tests of emotional intelligence that reveal both character depth and social order. For K-drama writers, hoesik scenes function as compact stages where tension, loyalty, and vulnerability can unfold in real time.
Modern K-dramas have also adapted to capture how traditional workplace hierarchies have evolved to include the digital world. Much of contemporary workplace communication now flows through KakaoTalk, Korea's omnipresent messaging application that has become integral to professional life. Employees typically maintain multiple profiles – one designed for colleagues and another for personal friends – while office chat groups blend business discussions with casual banter in the same conversational threads.
These digital conversations seamlessly mix discussions about work projects, hoesik planning, and birthday gift coordination, effectively extending Korea's complex office etiquette into the virtual realm. Shows like "Extraordinary Attorney Woo," starring Park Eun-bin, and "What's Wrong With Secretary Kim" accurately reflect this digital extension of workplace culture, where KakaoTalk notifications have largely replaced traditional watercooler conversations.
The app's built-in "gifticon" function, frequently used for birthday presents or small celebratory gifts, appears commonly in office K-dramas as well. This feature serves as an important tool for building relationships and successfully navigating office politics, demonstrating how technology has become integrated into traditional Korean workplace customs. These digital interactions provide writers with new opportunities to explore character development and relationship dynamics in contemporary professional settings.
This exploration of Korean office culture in K-dramas is part of the "K-Drama Survival Guide" series, which serves as a comprehensive resource for decoding the language quirks and social cues that define Korean dramatic television. Each installment in this series unpacks cultural nuances that are often lost in translation, offering international viewers a deeper understanding of the subcontexts that make K-dramas so compelling and authentic to Korean audiences.
