• The Journal of the Korea Contents Association
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• 제12권3호
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• pp.102-113
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• 2012

The effort to generate new values in this age of digital technology characterized by rapid changes in information and knowledge demands transformations not only in the sociocultural and educational spheres but also specifically in the field of arts and culture education. One of the greatest transformations is emphasis on integration and consilience among different fields which has impacted the field of arts and culture, giving birth to the practice of arts and culture education. Digital technology actively utilizes in lots of subjects, which, also becomes a challenging factor for the field of arts and culture education. In this context, this study theoretically considered to approach music technology to use for the field of arts and culture education. Utilization of music technology takes interdisciplinary approaches combining various subjects in the field of arts and culture education. Considering the current circumstances in which there is a lack of teaching and learning methodologies which reflect the unique, specialized nature and the intrinsic originality of the field of arts and culture education. It is deemed that by accumulating more case studies applying music technology in practice to a wider variety of targets and situations. Music technology will serve the role of an important a learning tool for the arts and culture education field.

• Korean Association of Arts Management
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• 제58호
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• pp.89-119
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• 2021

This study empirically analyzes the factors that affect the people's enjoyment of pure culture and arts, especially art exhibitions. We use 56,588 sample data from the "The Survey of Cultural Enjoyment" collected by the Ministry of Cultrure, Sports and Tourism over the last 10 years and perform multiple regression and Multi-Way ANOVA to analyze the effect of individual's cultural experience on art exhibit visits. The results of the analysis show that the experience of participating in culture and arts events, culture and arts education, and participation in culture and arts clubs have a positive effect on the art exhibition visits. We also identify the positive interaction effects between the three independent variables. In other words, it was found that the average number of visits to art exhibitions was higher for groups who had experience of participating in culture and arts events, culture and arts education, and culture and arts clubs. This study provides a first empirical analysis on personal factors influencing art exhibition visits in Korea and lays the groundwork for future studies in developing a comprehensive predictive model for cultural art visits. In addition, we give policy implications and suggestions specifically, mid-term policies related to promoting art exhibition visits as an extension of individual's engagement with pure culture and arts through big data analysis.

• The Journal of the Convergence on Culture Technology
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• 제7권4호
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• pp.281-289
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• 2021

Adolescence is a period when ego resilience, the ability to overcome stress, is important because self-identity is not established. Culture and arts education has various effects on the ego resilience of adolescents, so school culture arts education and social culture arts education use teaching and learning methods appropriate to the situation of adolescents. Self-understanding of the effects of culture and arts education has a significant effect on emotional control, vitality, interpersonal relationships, optimism, and curiosity of adolescent ego resilience, On the other hand, it was found that emotional stability among the effects of culture and arts education did not have a significant effect on all factors of adolescent ego resilience. Therefore, it is necessary to prepare a plan to provide opportunities for career exploration as a more practical program for adolescence to understand themselves and develop themselves. In addition, Culture and arts education should be conducted with convergence research that enables youths to maintain good relationships with others, have high self-confidence, and play a role in a wide range of stable and mature lives.

• Review of Culture and Economy
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• 제17권2호
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• pp.185-216
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• 2014

It has been two years since the national certificate of Arts & Culture Education Instructor(ACEI) was implemented the 2012 amendment to the Arts & Culture Education Act. Separate from the initial policy goals, students who attend the program to achieve ACEI certificate share various expectations, motivations and intents. The purpose of the research is to understand the collective identity of future ACEIs to evaluate the initial policy implementation during the period when the collective professional identity has not been fully formed yet. This research studies the data that were collected from 172 students who were attending one of the official ACEI institutes in Seoul area. As one of qualitative research methods, Questionnaire Method was employed to conduct this phenomenological study. James E Marcia's theory provides the theoretical framework for the data analysis of this study. The research results indicate that many students'identity status are between Identity Diffusion and Moratorium, which raises concerns for both arts and cultural fields as well as the policy success. Therefore, this research will relate these findings to the larger arts and culture infrastructure in order to better prepare them as arts and cultural professionals and also to stress the importance of the job market development and social environment that can accept them.

• Journal of Digital Convergence
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• 제12권11호
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• pp.23-32
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• 2014

The main purpose of this Study is to present the means of activation of public culture & arts institutions in the future through analysis of the operational competency of public culture & arts institution. Summary of the results of the analysis of this Study is as follows: Firstly, the variables in the operational competency of the existing public culture & arts institutions are found to be (1)artistic value, (2)convenience and (3)organization management while the performance variable includes (4) operational performance. Secondly, although there is no major difference in the artistic value for each of the public culture & arts institutions, other variables, namely, convenience, organization management and operational performance were found to be different between the institutions. Therefore, it would be necessary to pursue activation of operational performances and industry through differentiation of the contents of the artistic value in order to achieve real progress in the culture and the arts industry in the future.

• Proceedings of the Korea Contents Association Conference
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• 한국콘텐츠학회 2016년도 춘계 종합학술대회 논문집
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• pp.179-180
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• 2016

본 논문은 세계의 국가발전 핵심 키워드인 창조경제의 동력으로서 문화예술경영이 추구해야 할 방향성을 찾는데 목적을 가진다. 이를 위하여 본 연구에서는 첫째로 문화예술경영이 창조경제논리에 부합하는지 알아보기 위해 창조경제의 조건과 문화예술경영의 의미를 비교하여 두 개념이 추구하는 방향의 일치성을 확인하였다. 둘째로 본 연구의 목적인 창조경제 동력으로서 문화예술경영의 방향성을 찾기 위해, 창조경제의 성공적 사례를 담은 문헌 및 연구를 탐색하였다. 이를 바탕으로 문화예술경영의 방향으로 '예술을 수용하는 관객, 소비자, 독자들이 보다 예술과 가까워질 수 있는 다양한 프로그램 마련', '예술가들이 패러다임의 변화를 주도할 수 있는 제도적 장치 개발', '예술가 사이, 예술과 관객 사이 네트워크 형성을 위한 지원', 그리고 '일반인에게도 예술가의 가치 인정' 등을 도출하였다. 이러한 내용을 포괄하며, 마지막으로 예술에 대한 인식의 변화 추구와 다양한 아이디어 공존이 가능한 환경조성을 통해 창조경제의 생태계를 탄력성 있게 만드는 정책이 강구될 필요가 있음을 제안하였다.

• Trans-
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• 제2권
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• pp.59-73
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• 2017

It was after mid 1990s that convergence of art and technology had become a critical issue and governments set new support system for its enrichment. Since then, the government continues to expand support programs to extend integration of art, culture and other genre including technology because nexus, convergence has regarded important competitive factors in cultural policy. The concept of convergence and complexation in culture and art has been a very attracting issue since it appeared and accordingly various policies are supported. However, there are still numerous issues and problems to be solved along with discussion. This paper summarizes government policies to support convergence and complexation of culture and art in Korea and overseas and looks into their trends and cases and then suggests development of future policies and supporting businesses.

• Journal of the Korea Academia-Industrial cooperation Society
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• 제11권11호
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• pp.4151-4160
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• 2010

Recently the arts and cultural sector is drawing attention as a new growth engine of the Korean economy. The paper is empirically analyzed on the gender wage differentials in the arts and cultural sector and specially focused on decomposing the wage differentials between the manufacturing sector and the arts and cultural sector. Our results may be partly useful for explaining the existing phenomenon of the arts and cultural sector in Korean labor markets, for example, young, highly educated, part-time contracts, less gender discrimination, etc. The results might provide somehow the policy directions of reducing the gender wage differentials.

• Korean Association of Arts Management
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• 제55호
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• pp.5-38
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• 2020

This study focuses on the emergence of "hobby-preneurs" and the ways in which they are transforming the virtuous cycle of arts and cultural ecology. The hobby-preneur pursues and expands his or her favorite hobby into a professional job and/or arts business. Hobby-preneurs are the new driving force in the arts and cultural industry. Their activities enhance the arts as a public good even as they build valuable social capital for arts organizations and have a profound impact on supply and demand in the arts and cultural marketplace. Thus we found that by injecting and potentiating certain values that professional artists cannot directly deliver to arts consumers, hobby-preneurs function as major intermediaries in the virtuous cycle of arts and cultural ecology. To understand more about these emergent actors we examine their personal, social, and economic values and how these values guide their arts-related activities and thereby impact the ecology of the arts and cultural sector. In this study we use a phenomenological approach to investigate five hobby-preneurs and the particular ways their acquisition of professionalism is transforming the arts education node of the virtuous cycle in the creative sector.

• (The) Research of the performance art and culture
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• 제41호
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• pp.5-38
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• 2020

The current state of performance halls in South Korea is closely related to the performance art and culture of the nation as the culture of putting on and enjoying a performance is deeply rooted in public culture and arts halls representing each area at the local government level. Today, public culture and arts halls have multiple management purposes, and the subjects of their management are in the public domain including the central and local governments or investment and donation foundations in overwhelming cases. Public culture and arts halls thus have close correlations with the institutional aspect of cultural policies as the objects of culture and art policies at the central and local government level. The full-blown era of public culture and arts halls opened up in the 1980s~1990s, during which multi-purpose performance halls of a similar structure became universal around the nation. Public culture and arts halls of the uniform shape were distributed around the nation with no premise of genre characteristics or local environments for arts, and this was attributed to the cultural policies of the military regime. The Park Chung-hee regime proclaimed Yusin that was beyond the Constitution and enacted the Culture and Arts Promotion Act(September, 1972), which was the first culture and arts act in the nation. Based on the act, a five-year plan for the promotion of culture and arts(1973) was made and led to the construction of cultural facilities. "Public culture and arts" halls or "culture" halls were built to serve multiple purposes around the nation because the Culture and Arts Promotion Act, which is called the starting point of the nation's legal system for culture and arts, defined "culture and arts" as "matters regarding literature, art, music, entertainment, and publications." The definition became a ground for the current "multi-purpose" concept. The organization of Ministry of Culture and Public Information set up a culture and administration system to state its supervision of "culture and arts" and distinguish popular culture from the promotion of arts. During the period, former President Park exhibited his perception of "culture=arts=culture and arts" in his speeches. Arts belonged to the category of culture, but it was considered as "culture and arts." There was no department devoted to arts policies when the act was enacted with a broad scope of culture accepted. This ambiguity worked as a mechanism to mobilize arts in ideological utilizations as a policy. Against this backdrop, the Sejong Center for the Performing Arts, a multi-purpose performance hall, was established in 1978 based on the Culture and Arts Promotion Act under the supervision of Ministry of Culture and Public Information. There were, however, conflicts of value over the issue of accepting the popular music among the "culture and arts = multiple purposes" of the system, "culture ≠ arts" of the cultural organization that pushed forward its establishment, and "culture and arts = arts" perceived by the powerful class. The new military regime seized power after Coup d'état of December 12, 1979 and failed at its culture policy of bringing the resistance force within the system. It tried to differentiate itself from the Park regime by converting the perception into "expansion of opportunities for the people to enjoy culture" to gain people's supports both from the side of resistance and that of support. For the Chun Doo-hwan regime, differentiating itself from the previous regime was to secure legitimacy. Expansion of opportunities to enjoy culture was pushed forward at the level of national distribution. This approach thus failed to settle down as a long-term policy of arts development, and the military regime tried to secure its legitimacy through the symbolism of hardware. During the period, the institutional ground for public culture and arts halls was based on the definition of "culture and arts" in the Culture and Arts Promotion Act enacted under the Yusin system of the Park regime. The "multi-purpose" concept, which was the management goal of public performance halls, was born based on this. In this context of the times, proscenium performance halls of a similar structure and public culture and arts halls with a similar management goal were established around the nation, leading to today's performance art and culture in the nation.