Freedom Walk & Run 2026, Seoul
What Does Freedom Mean to You?
This fall, 200 people will gather along the Han River in Seoul to honor the 26 million people living in North Korea by answering one question: What does freedom mean to you?
Before setting out, every participant in Liberty in North Korea’s Freedom Walk & Run will write their own answers on the race bib they’ll wear for the 6 kilometer race.
The course is divided into three sections, each representing a different freedom: the freedom to leave, the freedom to lead, and the freedom to learn.
Each represents a different part of LiNK’s work and a different way North Korean people are pursuing greater freedom and choice in their own lives.
0-2km: Freedom to Leave
The first two kilometers represent the freedom to leave.
For North Koreans who decide to leave their country, reaching safety can mean a long and dangerous journey through multiple countries.
LiNK helps North Korean refugees navigate a secret route to safety. To date, over 1,400 North Korean refugees have reached freedom through LiNK’s networks. Every person who makes that journey has their own reason for leaving, their own hopes for what comes next, and their own idea of what freedom means to them.
Reaching safety opens the door to the next part of their journey.
2km-4km: Freedom to Lead
The next two kilometers represent the freedom to lead.
Starting over in a new country comes with countless possibilities, but just as many challenges. North Korean people resettling in South Korea or the US are learning a new system, while pursuing education, beginning careers, building relationships, or deciding what they want their future to look like.
LiNK’s programs support resettled North Koreans as they pursue education, language learning, and career development, providing mentorship, scholarships, and so much more.
And then comes the final stretch.
4-6km: Freedom to Learn
The last two kilometers represent the freedom to learn.
For people living inside North Korea, access to information from outside of the country is heavily restricted. Official media is centrally controlled, while foreign films, television, music, news, and other outside information are accessed illegally and often at significant personal risk.
Despite the government’s efforts to control information, curiosity about what freedom looks like proves impossible to suppress.
“No matter how much you try to control it, you can’t get rid of curiosity.”
Information gives someone a new point of reference. It introduces possibilities they had never encountered before. It gives them the chance to imagine a future beyond the North Korean regime.
North Korean people are finding ways to access outside media, through USB drives and microSD cards. LiNK’s Information Access Programs build on these existing channels by working with North Korean defectors and engineers to develop tailor-made technology and content that help people inside the country access more information more safely.
This is a growing part of our work, and one we believe has enormous potential to contribute to long-term change.
Get Involved: Support information access in North Korea
This fall, we’re giving supporters a closer look at this work through an upcoming documentary about information access in North Korea.
Make a gift of $30 or more to LiNK’s Information Access Programs by October 24 and you’ll receive an exclusive preview of the documentary this fall.
Your support helps LiNK enable more North Koreans to access more outside information more safely. This builds people’s resilience against regime disinformation, increases their aspirations for social and economic progress, and builds pressure for change and opening.
Donate today & get the documentary preview
Join us in Seoul
If you’re in Seoul, join us along the Han River on Saturday, October 24, for the Freedom Walk & Run. Participation is limited to 200 people, so reserve your spot today.
RSVP for LiNK’s Freedom Walk & Run
Film Review: Under the Sun
Spoiler alert: The North Korean government suffers from a severe transparency deficit.
How do you reveal the reality of a society where government representatives script each scene you're allowed to shoot?
Simple: leave cameras rolling at all times, and show your audience the scripting and retakes of "real life" in all their glory.
You end up not with a documentary about a family going about their lives, but a behind-the-scenes reveal of a family whose dinner-table conversations, workplace interactions, and even expressed emotions are curated by government propagandists for external consumption.
No North Koreans question this process out loud--except to check their lines.In this system everyone knows the role expected of them, especially with government officials overseeing everything. So before our very eyes, we observe the theatrical production of an ideal 'Kimilsungist socialist society', played out by real citizen-actors. And when citizens know the risks of not playing the part they’re asked to play, they become good actors.
This is of course a very real aspect of life in North Korea, even when no cameras are rolling. The everyday ritualised theatrical production of 'obedient citizens willingly striving as one for the socialist cause' is one of the key means by which the state perpetuates itself. Everyone knows what to say, how to say it, and that you have to say it. Whatever your innermost thoughts may be, it's hard to break role publicly when everyone else is sticking so closely to a ‘script’.
Revealing the nature of this production, warts-and-all, is one of the key contributions of Under the Sun.But as with any behind-the-scenes look, cracks in the facade, tired actors and cock-ups are apparent.'Off stage', strategically placed cameras record poor Pyongyang kids scavenging from a trash can. We see commuters disembarking to push a tram. A government 'set manager' shoos away two women approaching the back door of a milk processing plant with a big jug; we can only guess they were looking for an off-the-books top up, unaware there were foreign filmmakers present that day.
We see a forgetful factory worker reporting they have exceeded production targets by 150%, and in the next take 200%. It doesn't matter to any of her coworkers which fiction is used, and no one bats an eyelid.
And of course, children being less practiced in their roles within the system than adults, the best scenes feature North Korean kids. A small girl struggles to keep her eyes open while an aging war veteran wearing far too many medals bumbles through an anti-American propaganda lecture, punctuating tales of shooting down planes with praise for Kim Il-sung.
Jinmi, the star of the film, breaks down in tears when the pressure of performance becomes too much. Elsewhere, on-screen text tells us that she unwittingly revealed her parents' true occupations of journalist and restaurant worker before the government co-producers scripted them as the more socialist-appropriate textile factory technician and soy milk plant worker.
It's hard to not recall The Truman Show, and it boggles the mind to think there are 25 million people living out their lives in this theater state.
But unlike a Hollywood Movie, the enemy here is not represented by a snarling on-screen character. The propagandists are unnamed and we rarely even see their faces properly. The enemy is in fact the system itself, whose quiet tyranny forces every citizen - including the propagandists - to become complicit in its perpetuation by allowing the expression of only a singular narrative of what it is to be a North Korean.
