다변량토빗모형을 이용한 문화예술교육 경험이 문화예술 소비에 미치는 영향에 관한 분석

진현정,오현석다라 한국경영교육학회 2016 경영교육연구 Vol.31 No.6

[연구목적]본 연구에서는 유․아동기와 청소년기의 문화예술교육이 문화예술 장르별 소비에 어떠한 영향을 미치는가를 분석하였다. [연구방법]분석에 사용한 자료는 ‘2014 문화향수실태조사’이며, 한 명의 소비자가 하나의 문화예술장르에 국한되어 소비하는 것이 아니라 다양한 장르의 문화예술부문을 소비한다는 점을 고려하여 다변량토빗모형을 이용하여 분석하였다. [연구결과]추정 결과에 따르면, 문화예술교육 경험이 없는 경우보다 청소년기에 교육 경험이 있는 사람들의 관람횟수가 모든 장르에 걸쳐서 많은 것으로 나타났다. 특히, 미술전시회, 서양음악, 연극/뮤지컬의 경우에는 유․아동기 또는 청소년기에 문화예술교육 경험이 있거나 두 시기 모두 문화예술교육 경험이 있는 경우 관람횟수가 늘어나는 것으로 나타났다. 또한, 지난 1년 간 문화예술교육 경험이 있는 경우 영화를 제외한 모든 장르의 관람횟수가 늘어나는 것으로 나타났다. 이는 문화예술교육 경험이 문화예술 소비에 있어서 중요한 문화자본임을 간접적으로 제시한다고 볼 수 있다. [연구의 시사점]장기적인 측면에서 문화예술 수요를 늘리기 위해서는 문화예술교육 경험의 기회를 다양하게 제공하여 어린 시절에 문화자본을 형성토록 하는 것이 중요하다고 할 수 있다. [Purpose]This study examines the effect of arts and culture education at childhood(3-12) and youth(13-18) on the consumption of cultural arts products. [Methodology]Considering the correlation between the consumption of various cultural arts products, a multivariate tobit model was incorporated to the data of ‘2014 National Investigation on Realities of Cultural Enjoyment’. [Findings]According to empirical results, the number of viewing of those who have education experience in adolescence is higher than that of the non-experience for all genres of cultural arts. In particular, in the case of art exhibitions, classical music, and theater/musicals, those who have experience of art and culture education at childhood and/or youth enjoy relatively more of the cultural arts products. In addition, the experience of cultural education in the last year is proven to be a factor for increasing the number of viewing all genres of cultural arts products, except for cinema. This suggests that experience in arts and culture education is an important cultural capital. [Implications]Our results indicate that formation of cultural capital at childhood through experience of arts and culture education is important in order to increase the demand for arts and cultural products.

문화예술활동의 시대적 논의배경과 경제적 가치성에 관한 연구 -서남권 도서지역의 방과후 학교운영을 포함하여-

박행숙 ( Park Hang-sook ) 한국도서(섬)학회 2017 韓國島嶼硏究 Vol.29 No.4

The society today has been rapidly approaching within the waves of the ‘information-orientation’ and the ‘enculturation’. The value of the cultural art has been emphasized, and the cultural capital as the future capital has been carved in relief. In the 21st century, the importance of the cultural art has been carved in relief to the extent that anewly-coined word ‘techart’ suddenly appeared. It has been conveyed that ‘techart’ is a term that was made by combining ‘technology’ and ‘art’. Just like Alvin Toffler pointed out, art has been permeating within daily life by becoming popularized. And the business activities that are related to art and culture have been rising up as the important parts of the modern industry. Just like the futurologists have already been emphasizing the revival and the importance of cultural art from a long time ago, the cultural art phenomenon has been appearing as a big ocean current which is not visible to the eyes within the economic phenomenon. Although the discussions, in earnest, regarding cultural art are the things that happened recently, already, from a long time ago, they have been partially dealt with by the many scholars. Hence, before taking a look at the general value and the economic value of cultural art, the background of the discussions of the times related to the cultural art that had been handled by the many related scholars in the past was mentioned. Firstly, by introducing ‘The Theory of Moral Sentiments’ and ‘Imitative Arts’, Adam Smith had been evaluated as a scholar possessing the way of thinking as a pioneer in cultural economics. Secondly, compared to Adam Smith’s not definitely showing the Theory of Art Culture within his economics system, by grafting the Theory of Art Culture onto the economics system, John Ruskin has been known as a pioneer of cultural economics. As he mentioned regarding the life-saving economy, he has been calling the so-called Economics of Ruskin as The economics of life. Thirdly, Alvin Toffler said that, in ‘the theory of the cultural consumers’, the popular activities of the culture get linked to the new invigoration of the economy. And, in ‘Future Shock’, he had been developing the shock of the future into ‘the shock of the culture’. Fourthly, William J. Baumol and William G. Bowen had greatly contributed to the fetal movements of cultural economics, and they reconfirmed the attributes of the cultural consumers as talked about by Alvin Toffler. Fifthly, the term ‘cultural capital’ was used for the first time by Pierre Bourdieu and Jean-Claude Passeron. They classified the forms of the capital into the economic capital, the social capital, and the cultural capital. And, while mentioning about the symbolic resources in the many forms,they have been saying that the cultural capital is the core of the symbolic capital. Other than these, David Throsby had argued that the physical capital, the human capital, the natural capital, and the cultural capital must be included within the economic capital. Also, in ‘Culture Matters’, Samuel P. Huntington and Lawrence E. Harrison said that the competitiveness of a nation comes not from the capital but from the culture. If we put together the above opinions of the many scholars, we can recognize the economic value of cultural art. Regarding the culture and the art, we can see that the social and economic values exist by transcending the psychological and emotional worlds. Keeping in step with such a flow of the times, the after-school program of the Aulim Academy of the Mokpo National University has left a lot of the results by carrying out a lot of the arts and culture education by having the music and art fields as the center from the year 2012 until now with the elementary school students and the junior high school students in the island areas of the southwestern region as the subjects.

문화복지를 위한 지속가능발전의 사회문화예술교육

이동수(Lee, Dong Soo),김지영(Kim, Ji Young),윤정은(Yun, Jung Eun) 한국문화산업학회 2014 문화산업연구 Vol.14 No.4

지속가능발전교육으로써 사회문화예술교육의 실천방향은 삶의 방식, 지역사회와의 연계, 문화다양성 등이 고려된 원칙들이 적용되어야 한다는 것이다. 첫째, 지속가능하고 발전지향적인 지식, 기술, 태도의 삶의 방식이 문화예술을 통해서 실천되어져야 한다는 점이다. 둘째, 지역사회와 연계성을 고려하여 사회문화예술교육은 지역의 문화콘텐츠를 생산할 수 있어야 한다는 점이다. 셋째, 문화다양성을 고려한 지역의 문화예술교육, 특히 문화이해교육의 관점을 수용해야 한다. 문화복지정책을 위한 지속가능발전의 문화예술교육 실천은 사회적 취약계층, 지역문화 중심의 커뮤니티 문화예술, 교육인프라의 전문성과 안정성 확보, 그리고 문화예술교육 지원과 운영체계의 효율화 등 네 가지 관점을 강조하고 있다. 첫째, 사회문화예술교육은 사회적 취약계층을 위한 문화복지를 실천해야 한다. 둘째, 지역문화가 중심이 되고 커뮤니티 활동을 기반으로 생활밀착형 문화예술이 실천되어야 한다. 셋째, 문화예술 전문인력 양성, 교육내용과 방식 등에 있어서 전문성과 안정성을 확보하여야 한다. 넷째, 문화예술교육의 지원 및 운영체계를 효율화해야 한다. 정보를 공유하고 협력할 수 있도록 중앙정부 차원에서는 기획 및 재원확보, 관리와 지원을 제공하고 지방정부에서는 집행 및 전달과 자원 동원 및 발굴, 네트워킹을 형성해야 한다. In regards to the direction of practicing social cultural arts education as sustainable development education, principles considering lifestyle, connection with local community and cultural diversity need to be applied. First, lifestyle of sustainable and development oriented knowledge, technology and attitude needs to be practiced through cultural art. Second, socio-cultural art education needs to be able to produce local cultural contents by considering connection with local community. Third, the perspective of local cultural art education, especially cultural understanding education considering cultural diversity needs to be embraced. The practice of sustainable development cultural art education for culture welfare policy is emphasizing the four perspectives of community cultural art focusing on socially vulnerable class and local community, assurance of expertise and stability of educational infrastructure, support for cultural art education and efficiency of operating system. First, culture welfare for socially vulnerable class needs to be practiced through socio-cultural arts education. Second, local community needs to be the center while practicing daily life-friendly cultural art based on community activities. Third, it is necessary assure expertise and stability in cultivating cultural art experts and education contents and method. Fourth, support of cultural art education and efficiency of operating system are needed. For information sharing and cooperation, there is a need for planning and financial resources while providing management and support fromthe level of central government and local governments need to assure execution and implementation, resource mobilization and identification and network formation. 지속가능발전교육으로써 사회문화예술교육의 실천방향은 삶의 방식, 지역사회와의 연계, 문화다양성 등이 고려된 원칙들이 적용되어야 한다는 것이다. 첫째, 지속가능하고 발전지향적인 지식, 기술, 태도의 삶의 방식이 문화예술을 통해서 실천되어져야 한다는 점이다. 둘째, 지역사회와 연계성을 고려하여 사회문화예술교육은 지역의 문화콘텐츠를 생산할 수 있어야 한다는 점이다. 셋째, 문화다양성을 고려한 지역의 문화예술교육, 특히 문화이해교육의 관점을 수용해야 한다. 문화복지정책을 위한 지속가능발전의 문화예술교육 실천은 사회적 취약계층, 지역문화 중심의 커뮤니티 문화예술, 교육인프라의 전문성과 안정성 확보, 그리고 문화예술교육 지원과 운영체계의 효율화 등 네 가지 관점을 강조하고 있다. 첫째, 사회문화예술교육은 사회적 취약계층을 위한 문화복지를 실천해야 한다. 둘째, 지역문화가 중심이 되고 커뮤니티 활동을 기반으로 생활밀착형 문화예술이 실천되어야 한다. 셋째, 문화예술 전문인력 양성, 교육내용과 방식 등에 있어서 전문성과 안정성을 확보하여야 한다. 넷째, 문화예술교육의 지원 및 운영체계를 효율화해야 한다. 정보를 공유하고 협력할 수 있도록 중앙정부 차원에서는 기획 및 재원확보, 관리와 지원을 제공하고 지방정부에서는 집행 및 전달과 자원 동원 및 발굴, 네트워킹을 형성해야 한다. In regards to the direction of practicing social cultural arts education as sustainable development education, principles considering lifestyle, connection with local community and cultural diversity need to be applied. First, lifestyle of sustainable and development oriented knowledge, technology and attitude needs to be practiced through cultural art. Second, socio-cultural art education needs to be able to produce local cultural contents by considering connection with local community. Third, the perspective of local cultural art education, especially cultural understanding education considering cultural diversity needs to be embraced. The practice of sustainable development cultural art education for culture welfare policy is emphasizing the four perspectives of community cultural art focusing on socially vulnerable class and local community, assurance of expertise and stability of educational infrastructure, support for cultural art education and efficiency of operating system. First, culture welfare for socially vulnerable class needs to be practiced through socio-cultural arts education. Second, local community needs to be the center while practicing daily life-friendly cultural art based on community activities. Third, it is necessary assure expertise and stability in cultivating cultural art experts and education contents and method. Fourth, support of cultural art education and efficiency of operating system are needed. For information sharing and cooperation, there is a need for planning and financial resources while providing management and support fromthe level of central government and local governments need to assure execution and implementation, resource mobilization and identification and network formation.

문화올림픽과 미술의 민주화 - 1980년대 미술운동의 제도비판과 올림픽문화정책체제의 규정적 권력에 관한 고찰

박소현 한국근현대미술사학회(구 한국근대미술사학회) 2018 한국근현대미술사학 Vol.36 No.-

The 1980s in Korea has been defined as the era of democratization movement. However, the 1980s was also over-determined by the Seoul Olympic Games. This paper attempted to restore the 'multi-layered structure' of art in the 1980s in the context of the tension between democratization and the Olympics. The art movement in the 1980s, including 'Reality and Remarks', raised a question about such definitive power from the viewpoint of institutional criticism and activated critical discourses surrounding 'democratization of art.' On the other hand, the military dictatorship government structured cultural policies under the name of "Cultural Olympics" in the preparation process of the Seoul Olympics, and made an efforts to suppress and exclude the art movements' institutional criticism and their practices. Therefore, this paper examined the institutional criticism of the 1980s art movement and the cultural policy that used "Cultural Olympics" as a just and a way, and critically analyzed the relationship between the cultural policy and the art movement of this Olympic era. By doing so, I intended to question the paradoxical situation in which democratization "supports the victory of the old thing" in the era after democratization was the legacy of the Seoul Olympics, which the dictatorship government had put its all-out efforts throughout the 1980s. The Olympic cultural policy system, which was operated as an emergency system for the success of the Seoul Olympics, was implemented as a permanent cultural policy system in the era of democratization. And the violent oppression and exclusion of the 'rebelliousness' inherent in the emergency system of the 1980s was also inextricably permanent, and the 'fiction of art democracy', which, Sung Wan-kyung said, separated art from politics and bound it to the myth of modern art, was further strengthened. This is because the process of preparing and hosting the Olympics required to approve and mobilize state-led cultural policies, and in such process the definitive power about art, art movement, and art system has been transferred to the framework of national cultural policy. The process of transfer revealed the violence of the definitive power of the state, which distinguished between 'pure' art and 'rebellious' art, between art and non-art. Therefore, this violent and regulatory power of the state in the 1980s was not separate from the "Cultural Olympics" created by the government and the Olympic cultural policy system, which was a support for it, but an important part.

세계화시대의 국내 디자인대학 기초교육의 조형 요소와 원리에 관한 연구

윤민희(Yun, Min Hie) 한국디자인문화학회 2015 한국디자인문화학회지 Vol.21 No.3

한국의 현대예술교육이 급격하게 서구화⋅미국화되면서 조형교육의 가장 기본적인 조형의 요소와 원리에 대한 교육도 서구 모더니즘에 바탕을 두고 있다. 20세기 중반 이후 전 세계적 조형교육이 미국의 조형교육을 중심으로 행해져 왔기 때문에 서양의 구성요소 및 원리에 관한 체계적 연구는 활발하게 진행되고 있다. 현대적 시각의 동양예술의 조형관, 조형의 요소와 원리에 대한 구체적 연구는 미흡한 실정이기 때문에 동양인의 시각에서 바라보면 자칫 문화적 정체성의 상실을 가져올 수 있는 측면이 있다. 그러므로 자칫 국수주의나 문화적 답보주의에 빠질 수 있는 위험성을 배제하면서 세계의 보편성에 바탕을 둔 글로벌 스탠다드(global standard)의 측면과 함께 21세기의 예술교육은 각 국가의 문화적 정체성이 내포된 현대의 조형교육이 필요하다. 조형의 구성요소와 원리에 관한 연구는 조형발상을 위한 가장 기초적인 영역임으로 서구 중심의 조형관에서 동⋅서양 미술 현상 및 원리의 연구에 바탕을 둔 기초디자인 교육과정에 대한 연구가 필요하다. 세계화시대의 국내 디자인대학 기초교육의 조형 요소와 원리에 관한 연구는 문화적 정체성과 보편성의 시각에서 조형교육의 교육 현황 및 교육과정을 중심으로 연구⋅분석하였다. 세부적으로 국내대학 기초조형교육 역사 및 현황은 1) 국내대학의 조형교육 역사, 2). 국내대학 기초조형교육 현황을 연구하였다. 국내대학 기초조형교육 제안에서는 1) 기초조형교육과 문화적 양면성, 2) 크로스 컬츄럴한 기초조형교육제안을 중심으로 연구⋅분석하였다. 연구의 범위와 방법은 서울⋅경기권 디자인대학의 시각디자인학과(전공) 교육과정을 중심으로 조형교육 교과목 교육 현황을 분석한 후 디자인 영역 조형교육 교과목인 기초디자인, 평면디자인, 조형론 등의 교육내용, 교재 등에서 교육되는 조형의 요소와 원리를 중심으로 연구하였다. 특히 문헌연구 및 교육과정의 사례 분석을 중심으로 구성된 본 연구는 문화적 다양성과 정체성의 시각에서 기초조형교육의 조형 요소와 원리의 교과내용을 제안하였다. 문화적 보편성과 다양성의 측면에서 동⋅서양 시각 예술의 조형요소와 원리에 대한 연구는 조형예술 교육의 지평 확대와 심화를 위하여 매우 중요하다. 궁극적으로, 본 연구는 글로벌 시대의 동서양 예술의 크로스 컬츄럴한 시각에서 조형의 요소와 원리를 중심으로 세계인인 공유하는 문화의 보편성 위에서 한국의 문화적 정체성에 바탕을 둔 예술교육의 조형원리를 교육하는 것이 목표라 할 수 있다. As modern Korean art and design education has rapidly become Westernized or Americanized, education of visual elements and principles, fundamental aspects of plastic arts education, has been based on Western modernism. Since the mid-20<SUP>th</SUP> century, plastic arts education around the world has had American art education as its center, and systematic studies on Western visual elements and principles have been conducted actively. Because concrete studies about the modern view of Asian art and its visual elements and principles are insufficient, a loss of cultural identity among Asian people caused by the American-Western dominance of art education. Despite the risk of ultra nationalism and cultural stalemate, art education in the 21st century in the East demands education, including each country’s cultural identity based on global universality and standards. As studies into formative elements and principles are fundamental to a conception of modeling, a study of the curriculum for rudimentary art and design education is also required, based on the research of Eastern and Western artistic phenomena and principles. This research on the visual elements and principles of foundation courses in Korean art & design colleges in the age of globalization was studied and analyzed by focusing on current curriculum and status of art education from the view points of cultural identity and universality. For a more detailed study, research on formative arts education based on the history and the current educational status of Korean university was conducted. The suggestions for foundation education in domestic art and design colleges are, 1) foundation courses and cultural duality, 2) cross cultural methodology of foundation courses were studied and analyzed. The scope and methods of research were studied focusing on the curricula and education status of visual communication design department(major) from Seoul and Gyeonggi province, and then analyzed based on the visual elements and principles of education curriculum and contents such as basic design, 2D design, theory of plastic arts, etc. In particular, this research mainly composed of case studies of curricula and documents about the formative elements and principles from the perspective of cultural diversity and identity. In terms of cultural universality and diversity, studies of Eastern and Western visual art modeling elements and principles are significant to expanding and deepening education of formative arts. Ultimately, this study aims to base visual principles in art education on Korea’s cultural identity from a view of cross-cultural exchange of Eastern and Western arts in the era of globalization, highlighting international cultural universality.

동·서양 그래피티 예술의 사회 문화적 가치 특성연구

양재희,홍지나,윤재은 한국공간디자인학회 2018 한국공간디자인학회논문집 Vol.13 No.6

(Background and Purpose) In a modern society wherein various cultural media coexist and communicate, graffiti art is a cultural medium. As graffiti art, which was recognized as a subculture, interacted with the public, the existing perception and artistic evaluation of the medium began to change. The purpose of this study is to derive the social and cultural value of graffiti art in the East and the West in order to provide artistic-based growing data. (Method) The scope of the research is limited to the United States where graffiti art has occurred and to Germany, Britain, Korea, China, and Japan, where it has been actively conducted. First, this study identifies the concept and characteristics of graffiti art and organizes the background of the creation to derive artistic characteristics. Second, graffiti art is categorized as social and cultural based on organized theory. Third, the framework for analysis of social and cultural value characteristics of graffiti art based on classified social and cultural characteristics and elements of analysis are established through artistic and cultural characteristics as well as value characteristics. Fourth, graffiti from selected Eastern and Western countries is analyzed in a framework of analysis and the social and cultural value of graffiti art is derived as a result. (Results) In graffiti art, the U.S. displays hip-hop culture and cultural characteristics combined with the public and gains public recognition through its free-mixed culture. Germany has graffiti art that sublimates hatred and anger in the history of war and division into freedom and peace, thus breaking the existing framework and symbolizing it. Britain uses symbols that satirize resistance to society. There were preconceived notions that Korea would have difficulty with graffiti, but it provides a cultural and artistic space with the features and themes of its cities. China pursues the spatialization of art with the center of European culture and is represented by symbolic artistic features intended as a symbol of the Chinese national character. Japanese graffiti art has a simple and traditional taste. (Conclusions) Combining the results of this study, the social and cultural value characteristics of Western graffiti art were derived. Eastern graffiti art was perceived with high symbolic artistic characteristics. Graffiti art visualizes social emotions and messages that communicate with the public and aesthetically influences the urban environment. It sublimates the inner needs of human beings into art and creates a consensus with the public. As above, we will present the results of our study on the social and cultural value Eastern and Western graffiti art as research material in another field of graffiti art. (연구배경 및 목적)다양한 문화적 매체가 공존하며 소통하고 있는 현대사회에는 하나의 문화적 매체로 그래피티(Graffiti) 예술이 있다. 하위문화로 인식 되었던 그래피티 예술이 대중과 소통하면서 기존 인식과 예술적 평가가 달라지기 시작하였다. 이에 본 연구는 사회적 흐름을 타고 동·서양에 나타난 그래피티 예술의 사회 문화적 가치 특성을 도출하여 예술적 기반으로 한 단계 성장하는 자료를 제공하는데 그 목적을 두고자 한다. (연구방법) 연구범위는 그래피티 예술이 발생한 미국과 활발하게 진행되고 있는 독일, 영국과 아시아의 한국, 중국, 일본으로 한정한다. 본 연구의 방법으로는 첫째, 그래피티 예술의 개념과 특성을 파악하고, 발생 배경을 정리하여 예술적 특성을 도출한다. 둘째, 정리된 이론을 바탕으로 그래피티 예술을 사회 문화적 성격으로 분류한다. 셋째, 분류된 사회 문화적 성격을 토대로 그래피티 예술의 사회문화적 가치 특성에 대한 분석의 틀을 만들고, 예술적 특성과 문화적 특성, 가치적 특성을 통해 분석의 요소를 설정한다. 넷째, 선정된 동·서양의 국가들의 그래피티를 분석의 틀로 분석하고 그래피티 예술의 사회 문화적 가치를 결과로 도출한다. (연구결과) 그래피티 예술에서 미국은 힙합 문화와 대중과 결합된 문화적 특성을 보이며 자유로운 미국의 혼성 문화를 소통적 가치 특성으로 공공성을 획득한다. 독일은 전쟁과 분단의 역사가 깃든 증오와 분노를 자유와 평화로 승화시킨 그래피티 예술로 기존의 틀을 깨고 상징화 한다. 영국은 사회에 대한 저항을 풍자한 기호를 사용한다. 한국은 낙서처럼 보이고 난해한 느낌을 준다는 선입견이 있었으나 도시의 특색과 테마가 있는 구성으로 문화예술 공간을 제공한다. 중국은 유럽의 문화를 중심으로 예술의 공간화를 추구하며 중국 국민성이 담긴 상징화로 의도된 기호적 예술적 특징으로 나타난다. 일본은 간결하고 단순하며 전통적인 색감이 주는 기호성 표현이 나타난다. (결론) 본 연구를 결과를 종합하면 서양의 그래피티 예술의 사회 문화적 가치 특성으로는 공공성이 높게 도출 되었다. 동양은 상징화가 가장 높은 예술 표현 특성 결과로 도출 되었다. 그래피티 예술은 대중과 소통하는 사회적 정서와 메시지를 시각화하고 대중과 소통하며 도시환경에 미학적으로 영향을 주는 예술로 인간이 가지는 내면의 욕구를 자유로운 표현을 예술로써 승화시켜 대중과 공감대를 만들어 낸다. 이상과 같이 동·서양 그래피티 예술의 사회 문화적 가치 특성에 관한 연구의 도출된 결과를 통해 그래피티 예술의 또 다른 분야의 연구 자료로 제시하고자 한다.

논문 4 : 문화예술교육의 사회적, 문화적 맥락과 Cultural Arts의 개념

오세준 ( Sae Joon Oh ) 한국무용교육학회 2016 韓國舞踊敎育學會誌 Vol.27 No.1

The term ``munhwayesul kyoyuk`` (“Arts & Culture Education” by Korea Arts & Culture Education Service) can be translated as cultural arts education in English. Munhwayesul kyoyuk in Korea means something close to arts education primarily for amateurs, hands-on experience, and realizing social context through the artistic or cultural activities. Cultural arts can be the counterpart of ``munhwayesul`` in the term ``munhwayesul kyoyuk``. Roh Moo-hyun government inaugurated in 2003 started a new policy called ``munhwayesul kyoyuk``, and the policy caused problems of understanding the meaning and the identity of itself. When the government invented the policy to make teaching jobs for artists at that time, it coined a new term ``munhwayesul kyoyuk`` by combining ``munhwa kyoyuk`` (Cultural Education) and ``yesul kyoyuk`` (Arts Education) which were alredy existing. The word ``munhwayesul`` in the new term has been considered abnormal since its birth as the word had no academically valid origin. Also, there has been no concensus on the meaning of ``munhwayesul`` while nobody has been skeptical about the meaning of ``kyoyuk`` that means education. The confusion in understanding the meaning of ``munhwayesul`` caused the difficulty of translating the term ``munhwayesul kyoyuk`` into English. As the practices and the achievements of ``munhwayesul kyoyuk`` are examined, the common charicteristics between ``munhwayesul``, which is the content of ``munhwayesul kyoyuk``, and cultural arts are discovered. Therefore, Munhwayesul can be translated as cultural arts. With this translation that finds ``munhwayesul`` is not “abnormal” as its legitimate conuterpart, cultural arts, exists, ``munhwayesul kyoyuk`` can acquire a proper identity for itself as cultural arts education.

적에서 동맹으로: 20세기 중반 미국미술 속의 일본 내셔널리즘

조은영 서양미술사학회 2009 서양미술사학회논문집 Vol.31 No.-

During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US. Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art. However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public. The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect. This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria. Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintesse... During the postwar and Cold War period, the status and image of Japan in the United States took on a rapid transformation—from America’s enemy to an indispensable ally. As the US needed Japan as a valuable partner in the Cold War, American efforts to recreate and circulate a new and agreeable image of Japan appeared in various areas, ranging from political arenas to Hollywood films and art museums. In tandem with American endeavors and in an effort to promote its national image as a new cultural power, Japan attempted to replace its jingoistic image with an aesthetic one and circulated its art and ideas throughout the US. Demonstrations of Japanese art and culture, including Zen aesthetics, were positively and often enthusiastically received among Americans in general despite the strong nationalistic stance of prominent New York critics who championed Abstract Expressionism as “the American-type painting” and denied/ignored any kind of “oriental” influence on mainstream New York artists. The study and utilization of Zen became a widely spread phenomenon among postwar American artists and intellectuals. Many American artists, including Mark Tobey, Morris Graves, Ad Reinhardt, Isamu Noguchi, Ibram Lassaw, John Cage, and the Beats, took part in the “Japan boom” and “Zen boom.” The appropriation of Zen and Asian aesthetics by American artists during the postwar and Cold War era is now viewed as a summit of cultural/artistic interchanges between the US and East Asia, an aesthetic fusion of the West and East in the history of American art. However, in a discussion about Zen in the field of American art, we are bound to ask: whose Zen and which Japanese aesthetics did American artists encounter? Zen in American art has kept much stronger ties with Japanese Zen rather than with either Chinese Chan or Korean Sun. In disseminating Japanese aesthetics, Japanese art and Zen experts played the role of cultural diplomats by fostering specific aspects of Japan’s cultural heritage and advocating their ideal of Japanese Zen and art among American artists and the public. The popularity of Zen Buddhism was generated by the teaching and proselytizing activities of Japanese Zen proponents and popularizers such as Shaku Soen, head abbot of the Engakuji branch of the Rinzai Zen sect, and his protégé, D.T. Suzuki, as well as Okakura Kakuzo, Alan Watts, and Sabro Hasegawa, who visited or lived in the US from 1893 onward to cultivate Japanese Zen Buddhism and aesthetics in the US. In postwar America, Sabro Hasegawa, while formulating Japan’s modern art of national identity, took an important part in boosting the Zen boom and love for Japanese aesthetics in the US, to the extent that people joked the Japanese government should appoint him as an “art ambassador” for his role. Also, D.T. Suzuki, known as the most influential figure on Zen Buddhism in the West and whose teachings were employed by American artists, aggressively promulgated Zen. He contributed to making Japanese Zen more appealing and less threatening to Western audiences through his universalization of Zen by underlining its applicability to all cultures and areas as well as its aesthetic aspect. This examination of the presence of Japanese nationalism in postwar American art suggests that a particular sect of Japanese Zen worked as a means of cultural diplomacy to build, recreate, and restore the ideal and supreme image of Japan in the West from the last decade of the 19th century onward. A sect of Japanese Zen, introduced and popularized in America, was rooted in “New Buddhism (shinbukkyo),” which was originally produced in order to be in line with the Japanese government’s nationalist and imperialist policy, as expounded in recent studies by Robert Sharp and Brian Victoria. Accordingly, Zen of “New Buddhism” was presented to American and European audiences as the heart of Japanese culture as well as the spiritual and aesthetic quintessence o...

서울어젠다 기반 문화다양성 미술관교육 프로그램 분석 및 방향 : - 국립현대미술관 사례를 중심으로 -

황지영(Jiyoung Hwang),홍해지(Haeji Hong) 한국예술경영학회 2020 예술경영연구 Vol.0 No.53

본 연구는 2010년 발표된 <서울어젠다: 예술교육 발전목표>를 기반으로 한 문화예술교육의 사회적 가치 확산의 흐름을 파악하고 앞으로의 방향성을 제시하였다. 문화예술교육 맥락에서 문화다양성은 중요한 의제로서, 국립현대 미술관 문화다양성 프로그램 사례를 분석함으로써 문화예술교육의 사회적 역할에 대한 논의를 이어가고자 한다. 선행연구 조사를 통해 문화다양성 교육의 핵심가치 관점에서 국립현대 미술관 문화다양성 미술관교육프로그램의 내용 분석 후 시사점을 도출하였다. 연구결과를 요약하면 다음과 같다. 2017년부터 국립현대미술관 서울관에서 운영된 문화 다양성 교육프로그램 <어떤 시선>은 주제 중심 접근을 통한 문화다양성의 이해와 증진, 협동학습을 통한 공동체 의식 함양을 목표로 하고 있다. 김영천(2012)의 연구결과에 따른 문화다양성 교육 핵심가치를 토대로 2017-2019년까지 총 80회 운영된 교육프로그램 <어떤 시선>의 내용을 분석한 결과 포용, 대화, 시민성, 공존, 인권, 차이, 평등, 협력, 연대 9가지 문화다양성 교육 핵심가치를 중심으로 운영되었음이 분석되었다. 문화적 포용력을 증진시키는 공간으로서 미술관은 문화다양성에 대한 가치가 실현되는 곳이므로 문화다양성과 문화예술교육을 아우르는 공간으로서 중요한 의미를 지닌다. 포용, 대화, 시민성, 공존, 인권, 차이, 평등, 협력, 연대의 방향성을 미술관교육에 담고 있었으며 우리 사회 내 다양한 집단, 공동체의 관점으로 문화다양성과 문화예술교육의 논의가 확장됨을 파악할 수 있었다. In this study, the <Seoul Agenda: Art Education Development Goal> announced in 2010 was used to identify the flow of social value expansion on the culture and art education and to provide the future direction. In the context of culture and art education, cultural diversity is an important agenda, and thus the case of cultural diversity program by the National Museum of Contemporary Art was analyzed to discuss the social role of culture and art education. To summarize the findings, it is a program of promoting understanding on the diversity of art in the same period and various identifies of the members of our society through the exhibition of «Artist of the Year», and it is a program on cultural diversity of understanding the diversity and identity of various members in our society through the contemporary artwork. Through theme-based approach, education on cultural diversity and cooperative learning were applied to develop the sense of community. Based on the core values of education on cultural diversity, the contents of the education program on <Some Perspectives> performed total of 80 times on 14 programs in 2017-2019 were analyzed. As a result, the analysis showed 9 core values, and the core values of education on cultural diversity derived through the content analysis of the education program on <A Perspective> were ① Engagement, ② Conversation, ③ Citizenship, ④ Coexistence, ⑤ Human Rights, ⑥ Difference, ⑦ Equality, ⑧ Cooperation, ⑨ Solidarity. As the space enhancing the cultural engagement, the art museum is a place for realizing the value on cultural diversity, so it has significance as the space that embraces both cultural diversity and culture and art education. In this sense, it was identified that the discussion on the cultural diversity and culture and art education was being expanded into the perspective of various groups and communities in our society through the core values of engagement, conversation, citizenship, coexistence, human rights, difference, equality, cooperation, solidarity and direction, which were provided by the analysis of the contents on the art museum education program on cultural diversity in the National Museum of Contemporary Art.

우리나라 문화예술교육의 현황과 외국의 사례 고찰을 통한 역량 제고

민경훈 ( Kyung Hoon Min ) 한국예술교육학회 2013 예술교육연구 Vol.11 No.2

‘문화예술교육’은 문화와 예술의 교육을 의미하는 용어로 문화교육과 예술교육을 합한 복합명사이다. 우리나라가 문화예술교육에 관하여 학문적으로 심도 있게 연구하기 시작한 것은 1990년대 이후이다. 이같이 역사가 짧은 배경에서 본 연구는 그간 정부가 추진해 온 문화예술교육 정책이 글로벌시대에 창의 인성을 갖춘 문화국민으로서의 역량을 기르기에 적합한가라는 문제의식으로부터 출발한다. 진정한 문화예술교육이 이루어지기 위해서는 학교와 사회가 독립적으로 접근하기보다는 상호 긴밀한 유기적 협력체계가 구축되어야 한다. 이러한 국면에서 이 연구는 자국의 문화예술교육의 진흥을 위해 국가적 차원에서 많은 투자와 정책지원을 아끼지 않는 여러 선진국들의 문화예술교육 정책과 우수사례들을 살피고 논의함으로써, 우리나라 문화예술교육이 국민의 행복과 삶의 질을 높이는 사회발전의 척도로서 핵심역량을 발휘할 수 있는 시사점을 모색해 보는 것을 목적으로 하였다. 문화예술교육의 성장을 위해서는 무엇보다도 정부가 문화예술교육 성장을 위한 프로젝트에 예술이 생활이라는 개념을 수용하고, 수요를 창출하는 것이다. 또한 시민의 입장에서는 문화예술교육이 일상생활과 괴리된, 즉 자신과 관계없는 것이라는 인식을 버리는 것이다. 결론적으로, 문화예술교육이 학교와 사회에서 자연스럽게 정착되기 위해서는 정부, 지방자치단체 그리고 시민 모두가 문화예술교육이 우리 사회의 일상적 양상이고, 문화예술교육의 환경이 우리 주변의 일상생활이라는 인식으로의 전환이 필요하다. Arts and cultural education`` is a compound noun for art education and cultural education as a term that refers to education on arts and cultures. Korea began to study arts and cultural education in-d pth in the 19905. With such hort history of related studies, this study starts with the issue that the government policy on arts and cultural education so far i inadequate to cultivate the copetencies of cultural citizens with creative characters in today`s globalized world. ldeal arts and culhtral education requires establishment of a closely-knit collaborative system between schools and society, rather tian independent approaches. Thus, this tudy will examin and discuss the arts and cultural education and exc lent practices of advanced countries that implemented ubstantial investment and p Licy upport to improv their arts and cultural education. Ba d on the results, this study i intended to explore tile implications for Korean arts and cultural education that will help all citizens use their cor competencies at their best, while the education serves a a yard tick of social d veJopment that can boost th happines and quality of all citizens. To develop arts and cultural education, the government should accept arts as a part of life through projects for arts and cultural education development and create r lated demand. In addition, citizens should eliminate the notion that arts and cultural ducation has nothing to do with their day-ta-day lives and themselves. In conclusion, th govemm nt, local government, and all citizen hould perceive art and cultural education as a day-ta-day aspect of our society and the education environment as Cl part of our daily lives.