The State Seal goes ‘thud’, the carp goes ‘flop’…Artifacts that burst from the display cases walked a 20 m runway - 경향신문

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On the 19th at the National Museum of Korea in Yongsan-gu, Seoul, ‘Guksae Jegojibo’, which opened the first act of the ‘2026 National Museum Dress-Up Play: Nationwide Edition’, is walking down the runway. Yonhap News

“State Seal, where have you gone~?” A contestant dressed as the emperor of the Korean Empire and his retainer looks around, searching for something. With the sound ‘thud-thud-thud-thud’, a jaunty beat fills the air. “Your Majesty! The State Seal is coming~!” From the end of the runway, a golden State Seal topped with a dragon-shaped handle really comes walking on four legs. “Homeward, homewardthe State Seal has returned!”

The team of four office workers called ‘Did the State Seal Grow Legs?’ portrayed the treasure ‘Guksae Jegojibo’. It is the seal created in 1897 when Gojong founded the Korean Empire. Taken to Japan after the forced annexation, it returned right after liberation. The dragon on the handle shook its body gleefully and, with “thunk, the stamp lands,” the emperor and retainer unfurled a hanging scroll reading ‘Danger Outside the Museum’.

Those who embodied the seal’s return journey with their whole bodies said, “ ‘Danger Outside the Museum’ is a message shouted at the artifacts,” and, “While preparing our costumes, we learned the stories of many objects that have yet to return after the Japanese occupation and the Korean War.” A State Seal fashioned by covering a ribbed exhaust hood from a barbecue joint with gold film reached viewers as more than eye candy, carrying meaning. To the emperor’s flag signals, the State Seal exited making a ‘dee-dee-dee-dee-dee-dee’ sound. From the very first act, the unusual ‘2026 National Museum Dress-Up Play: Nationwide Edition’ raised the curtain on the festivities.

On the 19th at the ‘2026 National Museum Dress-Up Play: Nationwide Edition’ held at the National Museum of Korea in Yongsan-gu, Seoul, the team ‘Muyeonmo’ transformed into a ‘Bronze Bell’. Courtesy of the National Museum of Korea

At the ‘2026 National Museum Dress-Up Play: Nationwide Edition’, the team ‘Dukkeobijip’ transformed into ‘Daebanggwangbul Hwaeomgyeong Bohyeon Haengwonpum’. Yonhap News

On the 19th, at the Open Courtyard of the National Museum of Korea in Yongsan-gu, Seoul, 22 artifacts that looked as if they had burst through their display cases borrowed the bodies of 25 teams and took turns walking a 20 m runway. It is an event that goes beyond viewing artifacts to becoming the artifacts themselves. It began in 2024 with ‘The NMK Is Alive’, settled last year as the ‘NMK Costume Contest’, and expanded nationwide this year. Out of 275 teams and 643 people, 50 teams competed in regional semifinals at the museums in Chuncheon, Gongju, Daegu, and Jeonju, and 25 teams advanced to the finals. About 10,000 people gathered for the regional rounds, and videos of the entries became a major topic on social media. The steps of the Open Courtyard were also packed with about 3,000 spectators that day.

A wide range of entries appeared, from well-known artifacts to distinctive pieces from each region. Eye-catching works included gold-hued artifacts such as the State Seal, gold seals, and Buddhist statues, and uniquely shaped ones such as bells and pagodas, censers, tomb guardian beasts, and roof-end tiles. Art majors used their bodies as canvases, and professional cosplayers poured their makeup skills into reimagining Korean artifacts.

At the ‘2026 National Museum Dress-Up Play: Nationwide Edition’ held at the National Museum of Korea in Yongsan-gu, Seoul, the Pensive Bodhisattva in the museum’s Room of Contemplation appeared on the runway twice. ‘Capsfa&Top’ and ‘Lee Dae-yang’ (from left), each presenting their own Pensive Bodhisattva, form hearts toward the audience. Yonhap News

‘Maltan Saram-dungi’, who took the stage at the ‘2026 National Museum Dress-Up Play: Nationwide Edition’, transformed into equestrian figure pottery and is walking down the runway. Yonhap News

The ‘Pensive Bodhisattva’ appeared twice. Webtoon artist Lee Dae-yang turned 360 degrees atop the pedestal with playful footwork, stirring the seats. Professional cosplayers ‘Capsfa&Top’ presented the Maitreya Bodhisattva consoling sentient beings through white contacts, precise hand gestures, and calm breathing. They said they wanted to find something from Korean cultural heritage to show within cosplay, which has been centered on overseas characters. Two teams also interpreted Joseon royal gold seals differently. ‘The Catching-Their-Breath Turtle’ recreated together the two gold seals of King Danjong and Queen Jeongsun, layering their own slow steps over the long years after the king and queen were restored to honor; ‘Eongeong’ attached wheels to Queen Jeongsun’s gold seal, releasing the sorrow of tragedy through laughter.

Announcing her participation on MBC <Radio Star>, former basketball player and now model Lee Hye-jung became a side-stepping ‘human Gandol-geom (stone sord)’. She said she wanted to show her son that a museum can also be a playground. ‘Dongsanwon’, formed by residents of facilities for people with developmental disabilities, comically reenacted Kim Hong-do’s ‘Seodang (Village School)’, and ‘Muyeonmo’, transformed into a ‘Bronze Bell’, revived the sound that prayed for prosperity and well-being 3,000 years ago.

Lee Hye-jung, transformed into a ‘Gandol-geom (stone sword)’, expresses the sharp shape of the blade. Courtesy of the National Museum of Korea

Jeon Eun-sil, transformed into a ‘white porcelain carp-shaped water dropper’, conveys the joy of victory with foot claps. Bae Moon-Gyu

The contestant who drew the biggest laughs was Jeon Eun-sil, transformed into a ‘white porcelain carp-shaped water dropper’. A carp painted with blue scales and round eyes flopped on the floor. Like Pokmon ‘Magikarp’, it bounced and chased the bait held out by an angler. A jobseeker, Jeon said she wanted to try “the most powerful challenge I could show as myself.” The tale that a carp becomes a dragon by swimming against the currentthe Dragon Gate proverboverlapped with her situation. Wondering what she does well, the jobseeker drew today’s story from an artifact. Artifacts of different eras and purposes took to the runway, overlaid with the participants’ skills and their own stories.

It did not look easy to rank the 25 teams. Bigger applause met clumsy moves, and cheers poured out for nervous contestants. Yoo Hong-jun, Director of the National Museum of Korea, said, “There is something special in expressing the desire to show oneself through artifacts,” adding, “Artifacts once confined to the galleries come alive in the present, while participants display creativity and imaginationthis has settled as a festival unlike any other.”

At the ‘2026 National Museum Dress-Up Play: Nationwide Edition’ held at the National Museum of Korea in Yongsan-gu, Seoul, winner Jeon Eun-sil receives a certificate and prize from Yoo Hong-jun, Director of the National Museum of Korea, and rejoices. Yonhap News

Participants in the ‘2026 National Museum Dress-Up Play: Nationwide Edition’ pose for a commemorative photo after the event. Courtesy of the National Museum of Korea

Excellence Awards and Top Excellence Awards went to five teams each, and the Grand Prize went to Jeon Eun-sil. With trembling hands on the microphone, she said, “I did not know what I was good at or what I should do, but I gained a lot of courage from this event,” and offered thanks with joyous ‘foot claps’. The cheers from spectators who had stayed for more than three hours grew even louder.

Online, some called the event a ‘Korean Met Gala’ or a ‘Korean Halloween’. But for this stage, which wove together heritage research and reenactment, music and performance, and personal stories, there seemed no need to say ‘Korean version’ or even ‘cosplay’. ‘National Museum Dress-Up Play’ was enough.

‘Baekje Yaho~’ depicted the ‘reliquary from the site of Wangheungsa Temple’. Courtesy of the National Museum of Korea

‘Ungjin Jikibig’ portrayed the tomb guardian beast protecting the Tomb of King Muryeong (left). Courtesy of the National Museum of Korea