• Journal of Digital Convergence
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• v.16 no.11
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• pp.57-67
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• 2018

The purpose of this study is to examine the issues of school arts & culture education policy in Korea, using the four dimensional model of Cooper, Fusarelli, & Randall(2004). Research method is literature analysis, the accumulated policy documents and academic papers were used as the basis data. As a result, the followings are required for effective policy outcome: From the normative dimension, overcoming the pursuit of national growth ideology and bureaucratic rationality; from the structural dimension, securing of practical forms and content through the reform to the teacher mandate system in curriculum operation; from the constituentive dimension, clear division of roles among members through the change of awareness about arts & culture education; and finally from the technical dimension, rational allocation of resources based on firm educational criteria. Building upon the results, promotion of basic academic research, accepting the opinions of arts & culture education parties concerned, expansion of opportunities for cultural art experience of teachers, building up the integrated arts & culture education teacher training system, the reorganization of the teacher training system, and raising the professionalism of teaching artists.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.449-458
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• 2011

The purpose of this study is to analyze the attitudes and perception of Yeosu citizen towards cultural arts and city policy of Yeosu for establishing the culture city. The results of the study shows that first, the citizens of Yeosu is dissatisfied with the local culture and arts. It is necessary to provide a variety of cultural arts space, and the facility for the citizen. Second, the citizens are dissatisfied with their culture and arts policy and administration. For successful promotion of urban cultural art as well as the for successful hosting of the 2012 Yeosu World Expo, the policy to participate of local people in the culture and arts administration should proceed. Third, as the policy of culture and arts city of Yeosu, the established facilities for the World Expo 2012 should be transformed and be leased out for small-scale of local arts and cultural events. Finally, the study shows that opportunities for artistic creation and cultural activities should be available to local artists and the opportunity to participate for the arts is necessary to expand for Yeosu citizens.

• (The) Research of the performance art and culture
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• no.41
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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.

• Journal of Korea Society of Industrial Information Systems
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• v.5 no.1
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• pp.61-68
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• 2000

The propose of this paper is to present a new strategy for industrial promotion of Korea's performing arts. On the basis of the existing researches into the industrialized countries, it will be selected the economic characteristics of the performing arts industry, and be issued the policy directions of the industrial promotion of the performing arts sector. To derive a new strategy for industrial promotion of Korea's performing arts, we will consider the production, circulation, and consumption aspects of the performing arts sector, and will propose the systemization of the performing arts associated data base, and the proper division of the roles between the state and the private sector.

• Review of Culture and Economy
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• v.20 no.3
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• pp.61-85
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• 2017

It is recognized universally that international cultural exchanges have the potential to weaken ethnic rivalries and conflicts and promote cultural diversity rather than commercial interests. However, there are often cases in which these exchanges are transformed into private businesses with a great success in markets due to changes in cultural consumption patterns. This research aims to analyze the performance of international cultural exchanges and to develop a policy model that can guide the overseas market performance for Korean traditional performing arts. This study analyzes domestic and foreign cases for comparison. The domestic case is drawn from the research report published by Korea Arts Management Service and the foreign case is Ireland's Riverdance. The results of this study indicate that the policy political model in which a traditional culture may be translated globally with innovative performing activities has the potential to raise market performance overseas.

• Asian Journal of Innovation and Policy
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• v.7 no.3
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• pp.457-460
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• 2018

• Journal of Communication Design
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• v.60
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• pp.402-412
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• 2017

Since the 1990s, the role of the government has been shifting towards governance. This new governance emphasizes government's role in establishing a cooperative system with private organizations through network structure and interaction. In the 1990s, Korean Government support for artists and exhibitions increased unprecedentedly. In the 2000s, support for the arts shifted in ways so as to integrate genres. Simultaneously, in order to strengthen the creative capacities of artists, support for new artists, multi-art and fusion arts have increased. From 2010, 'visual arts' business support was provided. In addition, 'visual arts' was supported by a joint planning project from 2013 Also, an overseas residence program has actively supported exhibitions through international exchanges. Since 2005, it has expanded to cooperation with India, Iran and Asian countries as well as with the Betani Studio in Germany. In addition local government supported for artists and the Biennale, residences, regional cooperative business through the local cultural foundation.

• Review of Culture and Economy
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• v.17 no.2
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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.

• Korean Association of Arts Management
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• no.54
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• pp.155-184
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• 2020

This study aims to examine the system for gender rights in arts and cultural industry triggered by #Metoo movement and to suggest action plans to improve gender equality. Up until now, Korean government launched 'Pan-governmental Counter Plan', 'Recommendation of the Special Center for Investigating Sexual Harassment and Sexual Violence in Arts and Cultural Industries' 'the Primary and Secondary Supplemental Measures to Eradicate Sexual Harassment and Sexual Violence in the Arts and Cultural Sector by the Ministry of Culture, Sports and Tourism in Korea', and '2030 Cultural Vision'. Korean government has designed the system to protect gender rights using these proposals. Implemented policies can be grouped into 4 different categories; protecting victims, punishing abusers, implementing preventive measures, and reforming legal system. However, despite Korean government's multilateral efforts, continuous criticism aroused as policies failed to witness actual impacts in the industry. Given the fact that 2 years have passed since the launch of gender equality policy in cultural sector, this is the right time to discuss the current status and ways to improve it. For above reasons, research was conducted on documents including, but not limited to, government publications and an analysis of interviews with 9 major stakeholders of policy planning and implementation. During the study, interviews were analyzed using the qualitative research program MAXQDA. As a result, 5~10 problems were revealed in each category of the system. Furthermore, meaningful correlation has been found in improvement areas suggested by the interviewees. This connection implies that the policy for gender rights in arts and cultural industry shall be developed organically in order for the system to work.

• Korean Association of Arts Management
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• no.52
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• pp.39-73
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• 2019

The purpose of this study is to explore the issues and alternatives in the promotion of space and exhibition support projects in visual arts, and to suggest an applicable direction of the government grant program. For this study, FGI and in-depth interviews were conducted in the direct beneficiaries of the grant program, the staff of the grant program, and the group of visual arts expert. As a result, the deliberation and selection of the support project should be carried out with sufficient time in consideration of the specificity of the support project. And the project requires to divide into two kinds of the projects based on the understanding of the social role and differentiation of non-profit exhibition spaces and private art museums. For the grant application and assessments, a long-term support is necessary to bring the capability and issues in efficient allocation of the budget, flexibility of budget item, and the budget shortfalls. Furthermore, the reliability between the grant program and beneficiaries needs to form a healthy partnership, and the evaluation criteria and eNARADOEUM system should be more practical and rationally established. Through this analysis, the implications of understanding the specificity of visual arts support projects, establishment of sustainable visual arts creation policies, and budget utilization were derived. Consequently, cultural and artistic support projects were directed to place more emphasis on efficiency than control, direction considering the position of consumers than suppliers, and long-term business planning rather than short-term perspective.