Jaha Koo, the recipient of the prestigious International Ibsen award, recently reflected on his artistic journey and the themes of cultural identity that define his work. During a meeting in Oslo, shortly after receiving the 2.5 million kroner (£200,000) prize from the Norwegian government, Koo shared his philosophy on navigating life between South Korea and Europe. His work frequently centers on the nuances of this transition, exemplified by his stage productions that blend culinary experiences with social commentary. Where he has just been honoured with the prestigious International Ibsen award, I hand him a congratulatory packet of Haribo, w hen I meet Jaha Koo in Oslo. His new neighbours were unimpressed. Where Haribo gummies originated around a century ago, Koo still finds himself considered foremost as Korean by Europeans, despite spending many years in Europe. But when he returns to his original homeland he is not always seen as Korean either.
A recurring element in Koo’s life and art is kimchi. He recalls an early, messy attempt to bring 10kg of his grandmother’s homemade kimchi to Berlin, which resulted in the jar becoming “bloated like a dead whale” and eventually exploding on his balcony. This experience is mirrored in his touring showHaribo Kimchiwhich explores the “kimchi diaspora” and the diverse ways the dish is adapted globally. To Koo, kimchi is an essential connection to his heritage, contrasting with his more recent introduction to Haribo gummy bears in Europe. He describes his life motto as “jelliness,” drawing a parallel between the resilience of jelly—which recovers its shape after being pushed—and the adaptability required to thrive outside his home country. The alternative would be a jar of kimchi but one of the many things you learn from Koo’s captivating theatre shows is that air travel and fermented vegetables can be a disastrous combo. Its past recipients include Lola Arias, Taylor Mac and Forced Entertainment.
Koo’s stagecraft is deeply sensory, often utilizing a traditional mobile snack cart known as apojangmachaas his set. He views these carts as transient “soul places” that appear at night and offer comfort, reflecting his own feelings of being in constant transit. InHaribo Kimchihe serves audience members a meal includingsomaek(a soju and beer cocktail) and kimchi pancakes, using the menu as an emotional narrative. The production also features unexpected performers, including a robotic eel that delivers a ballad and singing gummy bears. The robot, according to Koo, symbolizes the journey of migrating away from home and eventually returning. He does so while preparing an onstage banquet for two lucky audience members.
Beyond his current work, Koo’s theater serves as a platform for critical inquiry into social and political issues. His earlier showCuckooutilizes modified, talking rice cookers to critique the long-term impact of South Korea’s late 1990s financial crisis. The piece addresses the neoliberal shift following the $58bn IMF rescue package, detailing the subsequent rise in unemployment and social isolation. Through an electro-pop song critiquing the economic policies of former US treasury secretary Robert Rubin, Koo highlights the struggles of a generation facing severe economic pressure.
Looking toward his next project, Koo plans to explore the global influence of K-pop. While he acknowledges the industry’s immense cultural power, he also intends to examine its darker side, moving away from his usual role as a performer to focus on directing a cast of singers. He views the genre as a significant force for change, citing how fans utilized K-pop culture and glow sticks as a form of protest against former President Yoon’s 2024 attempt to declare martial law. For Koo, theater remains an essential space for collective reflection and solidarity in an increasingly complex world.
