• Journal of the Korean Association of African Studies
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• v.43
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• pp.3-48
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• 2014

ABAKO(Alliance des Bakongo) of Democratic Republic of Congo is an organization founded by an ethnic group who sought to preserve its language, culture and tradition. It later developed into a political organization and led an independence movement from Belgium. In 1950, Edmond Nzeza-Nlandu founded the ABAKO in Leopoldville (currently known as Kinshasa), the capital of Belgian Congo. ABAKO changed into a political organization, however, when Nzeza-Nlandu stepped down from his position and Joseph Kasa-Vubu was elected instead as the chief of ABAKO in March 21, 1954. The Bakongo nationalism, as a link between the Kongo Kingdom of the past and the Bakongo people of the present, had influence on their cultural identity, attitude towards authority, political orientation, a common ground for geographical boundaries, and provided foundation for group mobilization. Moreover, the Kimbangu Church, founded by Simon Kimbangu had close ties with ABAKO. They struggled to obtain independece from the Belgian colonial rule. In conclusion, the leaders and members of ABAKO regarded the 'ethnic, linguistic and historical' affinities as the identity of their Bakongo nationalist group.

• KIEAE Journal
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• v.8 no.6
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• pp.71-78
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• 2008

Necessity of paradigm change has been awared in urban redevelopment especially, in housing regeneration from uniform scratch without serious consideration about resident's lives to holistic approach based on local culture and residents' participation. The purpose of this research was to identify community places recognized and attached by residents of a housing improvement district which was scheduled to be changed for improvement of the area, in near future. This research itself was considered as an resident participation technique. Group interview at a field site was carried as the main research methodology. As results, valuable places cherished by residents were identified. Most of them could be explained in relation to religious leadership, traditional cultural heritage and democratic movement. In regeneration process those places which have a strong tie with residents needs to be deliberately considered as a target to be preserved rather than demolished. The places also play a role in diffusing a livable village making movement. The result is expected to be used to make a cognitive and emotional community map of residents which is meaningfully differentiated from just a physical and geographical map. The places, place recognition activities and diffusion movement for common appreciation can be a basic foundation for residents participation in improving their housing neighborhood environment, and in creating value added strategies for the area.

• The Journal of Art Theory & Practice
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• no.7
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• pp.37-64
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• 2009

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of 'resistance paintings(against dictatorship)', 'proletarian painting', 'realism painting'. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when 'National Arts Association' started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; 'Reality and Speak'(R&S), 'KwangJu Art Association', 'Durung', 'Dang(Land)', and 'Local Youth Students Association'. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as 'ONE' combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's "Hyunsil Dong In the first declaration" and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in 'generation theory', 'organization theory', and 'popularization theory' by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed 'Dismentlement of Capitalism' and 'Public revolution'. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

• The Journal of Art Theory & Practice
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• no.16
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• pp.71-103
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• 2013

This paper explores the key figure of minjung misul ("the people's art"), Kim Bongjun, and the art collective Dureong in the relationship between 'dialogue' and the dissidents' structural critique of Korea's modernities. During the 1980s' prodemocracy movement, the minjung artists and other dissident intellectuals used the notion of dialogue as metaphor for and allegory of democracy to articulate not only Koreans' experience of modern history, which they saw as "alienating" and "inhumane," but also the discrepancies between Koreans' predicaments and their political aspirations and their working toward the fulfillment of those ideals. Envisioning alternative forms of modernities, Kim Bongjun and other Dureong members paid attention to the fundamental elements of art, which consist of art as a modern institution, as well as the everyday lives of people as the very site of Koreans' modernities. They endeavored to create "art of life," which presumes its being part of people's lives, based on the cultural and spiritual traditions of the agrarian community. They also participated in the national culture movement, the minjung church, and the alternative-life movement to radically envision everyday lives through the indigenous reinterpretation of democratic values. Despite the significant role played by the church mission and its community involvement, its effects on minjung misul have received little attention in the relevant studies. Thus, I consider in particular the minjung church's and the alternative-life movement's confluence of multiple cultural and social constituencies in relation to Kim and the Dureong collective's vision of a new art and community.

• Journal of the Korea Convergence Society
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• v.11 no.2
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• pp.215-223
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• 2020

After the war, the circle literature movement took place in Japan around the 1950s. The subjects of the national movement, the Korean-Japanese, have produced and expanded their political rights and claims through circles and organs in conjunction with the literary movement. However, the results of analyzing the exchanges and conflicts between the political subjects of the Korean national movement and the literary circle movement as a concrete case to date are still insignificant. After liberation, the endless worries and confrontations to the post-colonialization of literary Koreans in Japan were analyzed as 'community with Republic of Korea and Japan', 'topic and creative language', and as 'conflict with Korean association in japan'. The process leading to dissolution was analyzed. The spirit of the era of Koreans in Japan in the 1950s identified in this paper is expected to suggest a new direction for the starting point of study of the humanities in Japan.

• Korean Journal of Social Welfare
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• v.68 no.2
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• pp.53-77
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• 2016

This research is performed to verify a suggestive understanding and undertone on radical social workers's balanced practical experiences responding to the current situation to discover the new practical way of Korean social work so as to overcome the limitation of the above mentioned microscopic approach. It focuses on Giorgi's descriptive phenomenological study and further relating areas to provide information on Radical Social Workers'(RSW) social work practical and specific experiences and fundamental implication. This research has been participated with 9 RSWs, led the past democratic movement, have participated with this research. The data covers 84 meaningful units, 24 exposed topics, and 7 essential themes. The essential themes are as follow; lifting a latch into prepared changes, unavoidable destiny, drive for change from the bottom, collaborated forces of minority groups, changing the oppressive laws and institutions to more favorable ones for minorities, being patient and waiting required as birds breaking eggs to become a bird. Based on the collected data, Researchers discuss the main features and issues of our instituted social work practices.

• Journal of architectural history
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• v.1 no.1 s.1
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• pp.218-227
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• 1992

What is Deconstruction which is now the focus of the current architectural discussion? In order to know the Deconstruction properly, we should review the background of Modernism and Post-Modernism in architecture. As we know, the 1968's serial uprisings of democratic movement in Paris changed human concepts about art dramatically. As the result of that movement new ideas such as Structuralism, Post-structuralism, Deconstruction, and Semiotics arose. In architecture some ideas like construotioniem were not practised fully in 1920's and only the Modernism has been realized as the idea expressing the modern Utopia. In Korea situation to interprete architectural ideas into real buildings are different from those of other developed countries. Korean architects are seemed to use Deconstructionist vocabularies as fashionable styles without being concious of the root and history of Deconstruction. For Koreans the contexts are different. Although Modernism and Functionalism have been practised vigorously in Korea as other countries, the situations are ambiguous and complicated in applying new ideas introduced after Moderism. So they are in chaos. What could be our orthodox ideology to be worth pursuing in arthitecture? There are several sample works of Deconstruction in Korea done by Jo, Geon young, Kim, In Chul and Bae Byung-Gil. Aithough their works cannot be interpreted as real Deconstruction in European or american view-points, I think they are good examples of Korean Deconstruction that express contemporary Korean architecture and its social background.

• Korean journal of communication and information
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• v.59
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• pp.92-115
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• 2012

The authors examine the characteristics of the counter public sphere during the late Chosun era based on three dimensions: historical, ideological, and analytical. The counter public sphere during the late Chosun era was a lively communicative sphere where the common people, who resisted the premodern ideas and foreign power, tried to overcome the oppressing social and political environment. Although the counter public sphere did not continue to grow during the Japanese colonization era, it provided a basis of the independence movement and the ideological ground for the democratic movement today.

• Korean Journal of Labor Studies
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• v.23 no.1
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• pp.165-195
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• 2017

This paper deals with 'men facing limits of lives' from a perspective of struggle for social recognition. Men facing limits of lives in this paper indicates activists who have dedicated to labor movements since 1970s, and struggle for social recognition means to fight to acquire recognition in terms of love, rights and values, from members of societies. This paper analyzes the process of their failure and frustration in pursuing passion for recognition. They formed democratic labor unions, as an effort for recognition, and this led to foundation of progressive parties. Nonetheless, they are standing on a crossroad between lethargic and depression, while they are pursuing reformation and revolution. Why is their passion cooled down and depression aggravated? This paper argues various rifts both in internal and external realms of labor activists as critical factor of the failure, and suggests communication to heal the rifts as an alternative.

• The Korean Journal of Archival Studies
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• no.22
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• pp.3-35
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• 2009

We have innovated the records management since 2004. So, We innovated the electronic records management, transparency, and accountability. From these results, we could mark a turning point to plant the democratic values in the government It is very surprising, but it is fact that there are the estrangement between the high level institutionalization and low level records cultural soil. But after starting new government, things have been going backward. We have experienced the hyper-politicized problem, shrinking governance problem, regressive personnel policies in the National Archives of Korea. 'New Innovation Model' has resulted the shrinking democratic values, and the growing the bureaucratism. At this point of change, it will be meaningful to review the future of records management. First, we should make the more archives to realize the self-control decentralization model. It means that all local governments has the duty to build the archives, and to operate it with a principle of autonomy. Second, We should start the culture movement to build the more archives, the small archives in private sector. Archives are necessary in the NGO, Universities, firms, art, media, etc. And the small archives are necessary in the various communities, which enhance the rights of minority. All these will spread the democratic values in our society. Third, right democracy system should be operated for the political neutrality, independency. This problem is not prohibited within the national archives innovation model. So, we should transfer the powers of government to local government, and we should re-innovate the National Archives Committee will have the role to make the important records management policies. In short, Unless going to forward with the more democratic values, it would go backward 'records management without democracy'.