Today, there's a noticeable rise in socio-cultural expectations surrounding traditional crafts. This growth is mainly attributed to the ever-expanding global online retail market and the changing purchasing habits, fueled by an increasing emphasis on ...
Today, there's a noticeable rise in socio-cultural expectations surrounding traditional crafts. This growth is mainly attributed to the ever-expanding global online retail market and the changing purchasing habits, fueled by an increasing emphasis on improving the quality of consumption patterns. Many believe that these factors mark a significant turning point for traditional crafts. As the public's outlook diversifies, there's a noticeable shift towards respecting individual experiential values more than ever before.
In the early days of traditional crafts in Korea, fostering policies and support programs were often limited to indirect communication between craftsmen and the public, such as exhibitions and competitions to select winners, intangible cultural property protection systems, and master craftsman qualifications. However, as the scale of the crafts industry has grown, the crafts sector has evolved to include roles such as planners, merchandisers, and educators who help connect crafts with the public, as well as expanding opportunities for contact points between craftsmen and the public. Therefore, we believe that the future trend of traditional crafts is to go beyond the category of creation and help people to enjoy them by embodied in the daily culture of living subjects.
This study aims to explore the current trends in the modern and contemporary mother-of-pearl and lacquerware industries in Korea over the past century. Additionally, it seeks to investigate the relationship between these industries and craft education, examining how they have evolved and developed. To achieve this, the study first examines the connection between the traditional craft industry and craft education. It analyzes the current state of traditional craft education implemented in various institutions, with a specific focus on mother-of-pearl and lacquer crafts. The analysis highlights the demand for general, social najeon, and lacquerware education for the public, while also identifying the lack of diverse programs as a key issue. Recognizing the importance of integrating mother-of-pearl and lacquerware into public life, the study sets the goal of proposing an educational program that falls under the umbrella of "cultural arts education" accessible to everyone. In this regard, the study reviews the "Culture and Arts Education Policy (2018-2022)," which aligns with UNESCO's Sustainable Development Goals, and derives directions and points of improvement for traditional craft education.
The first goal is to establish a cultural ecosystem that fosters the enjoyment of crafts.
The second goal involves diversifying craft education to cater to the needs and interests of consumers.
The third goal aims at enhancing the traditional craft workforce by strengthening the manpower base.
To achieve the goal of diversifying craft education to meet consumer needs, both long-term and short-term education programs focusing on mother-of-pearl and lacquerware were designed and implemented. The emphasis was placed on creating consumer-centered programs. To assess and evaluate the outcomes, surveys and in-depth interviews were conducted with participants in the education programs. The ultimate objective is to establish a strong connection and resonance with the general public through traditional crafts such as najeon and lacquerware education. By doing so, the study aims to identify the direction and program outcomes of mother-of-pearl and lacquerware education as a strategy for sustainable popularization. The research findings can be summarized into five main categories.
Firstly, the analysis of the current status and issues surrounding the mother-of-pearl and lacquerware industry and education in Korea confirmed the necessity of public education in traditional crafts. It was observed that societal issues and consumption patterns are shifting towards sustainable attitudes that prioritize experiences and environmental considerations. Consequently, there is a need to transform our perception of traditional crafts from mere material possessions to valuing the experiential aspects.
Secondly, the study explored ways to enhance education on sustainable mother-of-pearl and lacquer crafts as a mediator between traditional crafts and the public. Through analyzing domestic and international cases of craft education program development, it became evident that there is a need for research and development of diverse traditional craft education programs that respect and embrace different generations and cultural backgrounds.
Thirdly, a proposed traditional craft education program, aligned with the cultural arts education policy strategy, focused on the second goal of diversifying craft education centered around the consumers. A preliminary survey was conducted to select customized topics for the education target group, with an aim to create a consensus that bridges the gap between the public's daily life and mother-of-pearl and lacquer crafts.
Fourthly, the study incorporated craft-related educator completion courses, including craft educator training and cultural arts education history, as an empirical educational program reviewed through real-world case studies. Recognizing the limitations of relying solely on theoretical analysis, the researcher completed courses to foster craft mediators and attain qualifications as cultural arts educators, providing a practical foundation for the program.
Lastly, the study conducted a series of processes from program design to training and result analysis, allowing for a close analysis and understanding of the program structure. This approach, which involved planning, implementing, and evaluating the program, is not commonly found in previous studies on craft education programs within arts and cultural education. The research provided valuable insights by swiftly improving the program through direct consumer feedback and incorporating it into the various stages, from planning to execution and evaluation.
However, there are certain limitations that should be acknowledged, including the analysis of various target groups, the objectivity of program results, and the absence of active publicity measures. To implement a customized education program that caters to the specific needs of each target group, a more extensive analysis of the target groups and further development of program planning are necessary. Moreover, future efforts should focus on establishing objectivity and justification for the development of traditional craft education programs.
Additionally, to ensure that educational programs reach diverse generations and social classes, it is crucial to implement a comprehensive publicity strategy. This strategy should aim to inform and engage individuals from different backgrounds and make them aware of the educational opportunities available. By establishing traditional crafts as a culture that can be enjoyed by anyone in their daily lives, rather than exclusively by a select group of experts, we can foster the contemporary relevance of traditional crafts.
As the demand for crafts continues to expand in our society, it is hoped that there will be further development of educational programs for each craft field. Furthermore, raising awareness about the importance of consumer-centered traditional craft education is essential. Through these efforts, we can promote the sustainable development and appreciation of traditional crafts in our society.