translatable. This author particularly examined the readership in arts. How do we study and interpret visual art? Readership of Visual Art is the primary goal of the art research. Through the art practice, he realized that he has always used two distinctive elements in one set; non-duality. “Form is emptiness and the very emptiness is form” (p. 18). “Emptiness does not differ from form, form does not differ from emptiness; whatever is form, that is emptiness, whatever is emptiness, that is form, the same is true of feelings, perceptions, impulses and consciousness (p. 18).”
It would be much easier to relate the studio and written work by making sure the research acts as a practice and the practice as the research (Macdonald, p. 17). It would be impracticable to divide studio work and written work, and as such, they will be viewed as parallel. Moreover, a spiritual investigation of art practice will also go on as a process of art making. My candid immersion into the world of desire and dreams could have perhaps mesmerized enthusiasts as well as general viewers of my work. This author adopts a spiritualist perspective on the inspirations and his relationship as well as his role as curator. He locates some of his images in his paintings. However, he tends to think about many other things rather than his identity when in the act of painting. He does not really think about his personal identity during his art practice. He feels something opposite to a self-centered attitude, which is an amazing process for this author. He simply is immersed in the freedom of expression of his work. At times, he is not conscious of the process he is undertaking.
His recent paintings are rich in color and imagery. In the UK, he had two solo exhibitions, namely, OLYMPIA at CueB Gallery in London and six group shows dubbed RHIZOSPHERE at Oxo Tower Wharf in London, 2011. In 2014, he had an appointed solo exhibition and group shows.
Under common usage, vitalness is regarded as synonymous with living or essentialness - indispensability. These elements have come to be theorized as the essential tools of state-sanctioned media manipulation (Atkinson, p. 4). Nevertheless, this understanding is at odds with the philosophical-existentialist formulation since vitalness opens the fundamental space of freedom. Both determinations fail to describe the specificity of our contemporary condition. In order to comprehend the re-determination of vitalness, this author felt it was very important to begin with an analysis of the primary site of the cultural materialisation of vitalness - the Arts (p. 4).
In traditional reading, from Kierkegaard through Freud on to Badiou, vitalness identifies the authentic position of freedom: a confrontation with the “possibility of possibility.” The consequences in relation to the political field are then worked through. Meanwhile, the “politics of happiness” aims for resolution and a return to the untroubled situation it has itself posited. The “politics of love” aims for an impossible-pure agency (p. 4). In reality, vitalness returns the political subject to the consequences of their participation and the immediate co-ordinates of their situation.
- Artist Teacher/Mentor and Director (Auto-ethnographical approach)
(Practice as Research: www.37artstudio.com. The author is the director and artist-teacher in this place. It is a contemporary art institute and artist-in-residence programmes).
The 37 Art Studio is a modern art institute that provides workshops, tutorials, lectures, artist presentations, and seminars. It also offers support to artists of different levels ranging from high schools students to graduates and beyond (Hulse, p. 2). Active international artists run the studio that assists students in finding and developing their own interests, as well as research towards applying for UK and US Universities. Nevertheless, it is imperative to reiterate that most artists need a day job to make ends meet (p. 2). Only the isolated cases of household names can effectively invest fully in their art and earn a viable living. 37 Art Studio also offers an artist-in-residency programme for working artists without getting fees from them in a different venue in Seoul, New York and soon will also open in London.
Teaching art and making art both necessitate different strategies. Not every great artist can be a great teacher; it is this author’s conviction that to teach, one must have developed greater ‘humane’ qualities.
- Comparing UK and Korean Arts Education Policy
The UNESCO concept of arts education had evolved in Korea since 2006 (Lin, p. 24). The UNESCO approach to arts education was quite a narrow one, limited more or less to education in schools in the fields of the western art forms of theatre, music, dance and the visual arts. It is aimed to a more broadened approach in art education, which includes a more cultural approach. Korea, just like the other Eastern and Southern countries, also aims including all the non-formal educational activities of non-governmental organizations and community arts centers.
In England, Arts Council England (ACE) is the national development agency for the arts. It distributes public money from the government and the National Lottery (Tripney, et. al., p. 3). ACE is accountable to the government and the general public for the effective use of public funds. Hence, it is challenged with understanding the values and benefits that such investments accrue to individuals, communities and society, and with using that understanding to make decisions about the best use of its resources. As part of its commitment to strengthening the present evidence base on the impact of the arts, Arts Council England and its equivalent in Scotland, the Scottish Arts Council, have funded various literature reviews in this area (p. 4). It also reviewed the empirical evidence for the impact of the arts in national development. In comparison, the UK has a more mature view of the arts and arts education as a recognized component in national development and a cultural consciousness. In both countries, the reviews and reforms in the field of education have usually focused on children and young people, with Korea focusing on the earliest educational level. Likewise, the UK also recognizes the contribution of art education to cultural learning in young students aged 5-16 through its systematic review (p. 6).
While the UK already has a more advanced conception and practice of arts education, it is also commendable that South Korea is doing its best to follow suit. South Korea is one of the first Asian countries whose cultural policy profile has been commissioned for the global cultural research platform.
Both the UK and Korean art education policies are geared towards the integration of IT into the arts. Both recognize the impact of IT into the cultural life. Specifically, in Korea, cultural policy refers to the unification of both the North and south Korea. Another commonality is its view on multiculturalism and how globalization and the homogenization of culture is reshaping the arts consciousness and national identity of a group of people.
Chapter 6
Regeneration issues were being used into serious account prior to completing the research. In ensuring that the research was in conformity towards the moral criteria with the Graduate School of Education at University Bristol and also with the Korean Cultural Office, this researcher stuck to the guidelines arranged by these institutions (Buarki, et.al, p. 499). Prior to the research, the researcher asked for an official consent from the school principals to be able to access to the meant school.
As soon as authorization was provided by the schools principals, concerns regarding the research (such as objective, access and time) had been cautiously outlined along with them and along the educators involved. Flexibility was one of the qualities of the researcher. It discusses related concerns. For instance, contributors had been granted the possibility to withdraw from the research if required (as suggested through the British Educational Research Association) (Kress, p. 26). The worries and concerns had been sorted out in a qualified way. The accessibility and time were planned in accordance with the school’s desire. These initiatives had been meant to create respect and confidence as well as to maintain a beneficial relationship together with the school.
According to the research instrument, the method was made with good awareness. The researcher guaranteed that the details and information from the methodology would not cause any possible discrimination or bias. Either data collection or storage did and defiantly will work prior to the “Data Protection Act.” With regards to anonymity and confidentiality, these had been cautiously stored during the entire research (Buarki, et.al, p. 501).
Generally, in this study, the methodology uses two kinds of tools: questionnaire methods and interview. This paper has been the approach taken to use two methods of data analysis. For the socio-emotional influences, the Regeneration in teaching in Korean schools was used. Though there are many kinds of research approach, qualitative method of analysis has been chosen for this research. This type observes reality. It is based on the theory. Multi-methods were the core characteristics in this research such as the background formulation approach (Koschmann, p. 15).
For example, a combination of quantitative and qualitative methods, primary and second data, deductive and inductive strategies, were used (Buarki, et. al, p. 11). This study helps develop a major kind of information and knowledge in terms of what routine aspects must be followed to imply strategies in the Korean schools (p. 12). Depending on variables such as genders, socio-emotional relations, ethnicities and different backgrounds of teachers, there can be more than one analysis factor and rationale in a systematic approach (Koschmann, p. 16).
Chapter 7
“Cultural Enrichment” 2013: New Government Project in South Korea
“Cultural Enrichment” is very much appreciated in South Korea. Korean school’s artistic movement was found in the twentieth century. The movements are responsible for portraying the everyday activities of Korea. The artists focused on the poorest areas of Korea. These artists never planned to meet; they coincidentally had a passion for art. They painted about the life of the city. Modernism was neglected for a very long time (Dave, Shilpa & Leilani, p. 32). The city changed but no one seemed to recognize the change. These artists painted about the changes in the city and how they felt about the changes. They painted pictures of both positive and negative changes but mostly the negative changes. Prostitution had increased at the time, so they painted mostly about it. They also painted about boxing and drunkards in the city. Their focus on poverty in society caught the attention of critics. They also realized that the city had really changed.
Korean artistic movements were more interested in telling the truth about Korea and the influence that tradition had over arts. The leaders of the movement did not like this feeling. They wanted art to be recognized and appreciated by the society. The wanted art to be like journalism where people value the messages they get from journalists. They urged their followers to express their feeling by painting. They urged them not to fear anything. They told them to paint about contemporary work without fear (Huang, p. 23). Their aim was to bring out the difference between the rich and the poor by the use of art.
The movement was motivated by the changes in the city. There were many changes and people did not seem to see the effect of the changes. The poor people were getting poorer every day and the middle class getting richer. This was not fair, but there is nothing the society could have done. Due to this effect, the artists portrayed their thoughts and feeling through painting different kinds of expressions in order to send a message to the leaders. As much as they wanted their work to be recognized and be appreciated, the message they were sending to the public was most important. They wanted the leaders to do something about the society. The situation of the areas where poor people would dwell on should be attended by the leaders.
Prostitution and other immoral activities were increasing in the society. The saddest thing is that mostly low-income earners practiced it. Artists in this movement knew that the middle class could help them come out of that situation if they communicated to them. They did this by painting with the guidance of their leaders who have been in the industry for long.
Chapter 8
Political Imagination for Better Change on artist and public in South Korea
The Korean government has a great influence on goods that are sold within its country. It is the responsibility of the government to ensure that products that are sold in the country meet the required standards; otherwise, they should not be sold at all. With artistic products, the government imposes tax policies for the suppliers of these products (Dave, Shilpa & Leilani, p. 12). This is very risky because the tax policies may not favor the artists. It is, therefore, advisable to ensure that artists abide by the policies that the government imposes at all times in order to avoid being on the wrong side of the law. Crossing the government means risking the closure of artists’ businesses for good. This is because the government is very strict on the legislative laws in order to protect the welfare of its people.
Environmental laws also affect artists very much. Paints are informed of liquid. They are, therefore, bound to spill from time to time during their transportation and at the place of work. The laws protect the environment in that artists should ensure that there is no spillage of these paints especially in areas where there is bound to explode as fire. Rivers and lakes are other areas that should be avoided because it will pollute the water sources. This will be a danger to the environment because neighboring people will have a shortage of water due to the pollution of the rivers and lakes. Artists should, therefore, ensure that all their waste products are dumped well and that they do not pollute the environment in any way enough to disrupt the life of the neighboring people.
Artist’s raw materials are affected greatly with how the economy is doing. This means that suppliers should ensure that all its products are available and supplied to its customers as requested. Suppliers of these products should come up with strategies to curb the pressure and to ensure that all the products are safely transported to avoid any damages and losses bearing in mind that these products are highly flammable (Huang, p. 12). Accidents that occur involving vehicles transporting paints are very lethal because when they catch fire, chances are very minimal of anyone surviving from it. That is why suppliers should take all the necessary precautions to ensure that the transportation means are safe at all times.
Interest rates also affect artists’ raw materials in that when they go up; the prices of these materials go up as well. This will affect the business of the company because when the prices go up, demand of the products goes down. Although these products are very vital and that they are needed for other business to operate, there will be a withdrawal of some customers from purchasing the product until the interest rates go down. They will opt for substitutes, which is not good for the business. This is because chances are that when the interest rates go down not all buyers will come back to the business to buy from them.
The artists take a big risk with their employees who are handling these products. The artists should ensure that they are well protected at the work place in order to ensure that their health is not at risk. Apart from being flammable, these products are highly toxic. They can easily kill the people handling them slowly by slowly (Bourriaud, p. 16). The artists should ensure that they go with the prevailing trend in the market especially with prices. This will enable the artists to keep as many customers as possible. This is because they will manipulate the prices to suite their customers enough to ensure that they do not get attracted by their competitors at any given point. This is very risky for the artist because if they decide to move to their competitors, chances are that they will not come back even when the prices are low. It is, therefore, very important for the artists to ensure that they take the necessary measures to curb the risk of losing their customers to their competitors.
Methodology is growing fast every day. It is important for market players to ensure that they cope up with the rate at which it is growing because they do not want to be left behind doing things the old-fashioned way. Suppliers, too, should be at the forefront embracing methodology and should apply it in any way possible. Artists are at a risk of getting their cost increased due to changes in methodology. Change in methodology forces suppliers to change their mode of production in order to ensure that they move with the prevailing trend in the market. Methodology is one of the factors used as market entry restrictions. This is a risk that the artists cannot take. They should, therefore, ensure that they use the latest methodology in order to ensure that they are able to enter any market to supply its products. This will enable it to increase on its market share as well as sales revenue due to increase in customers. Artists should also conduct some research using the latest methodology in order to determine the preference of its customers hence availing the most preferred products in plenty.
Environmental factors affect the supply of artists’ raw materials especially during cold weather (Lamberson, p. 23). This season makes transportation of these products very difficult because the roads are not in good condition for transportation. This poses a lot of risks for artists in that the supplies will not reach the required destinations on time. When the prices go up, demand goes down. This is not good for the business because every business aims at increasing their sales every day. Artists should come up with strategies to overcome weather challenges in order to ensure that their business supplies do not stop every time there is a weather problem and especially during rainy seasons. Weather is something that artists cannot control and because of this, it must prepare accordingly in order to ensure that business runs as usual despite the bad weather conditions experienced.
The supply of these products poses a lot of risks to the employees. This is because these products are highly flammable. It is, therefore, important for artists to abide by the labor laws in order to ensure that they are in good conditions while at work and that they are well protected. They should get regular check- ups with the doctors in order to ensure that their health is all right. They must see to it that they are not exposed to any toxic substances from the products that they are dealing with either during transportation or during storage of these products (Otzmagzin, p. 74). The law is very strict on employers who do not take care of the welfare of their employees. The government imposes very hefty fines in order to keep them at bay and to ensure that employees’ rights are not violated in any way whatsoever.
The consumer laws are also very strict. They include prices at which consumers buy their products. The law forbids the suppliers from exploiting the consumers with their prices. The government intervenes to ensure that the prices do not go past the set limit. The consumer laws also protect the consumer in that the suppliers ought to sell good quality products to the consumers. Before selling goods, these products must go for check up by a government branch to ensure that they meet certain standards that have been set by the government for approval (Lamberson, p. 28). This is a way of the government to ensure that products that are sold in the market are of good quality. Artists should, therefore, work hard to ensure that they abide by the consumer laws and that they are on the right side of the law.
Conclusion
The emergence of South Korea as one of the wealthiest, most technologically advanced countries worldwide can be linked to its emphasis on the sciences over liberal arts in higher education. The country has seven sectors of postsecondary institutions: universities and colleges, industrial universities, universities of education, broadcast and correspondence universities, junior colleges, technical colleges, and other institutions. In recent times, however, it has moved its emphasis on the art education as it now recognizes the role of art education in the socio-cultural development of its people, a significant part of total human and national development.
Education has been fully developed for building the nation and instilling a strong sense of nationalism among its people. Basic education’s art program gears on providing a well-rounded, developmentally-sound, integrated art experience. Korean students are encouraged to be more creative and imaginative through the exploration of media techniques, architecture, sculpture, fibers, ceramic and processes. They must be adept in using different art styles and a host of subject matter.
Over the past decades, many art professionals and proponents have contended the intrinsic value of learning in the arts. Nonetheless, the arts continued to struggle to gain a foothold within the school curriculum. Concerned about the arts’ impact on classroom practice, this research paper intends to clarify the diverse realities in teaching arts. It made a critical cultural, economic and socio-political inquiry into art education practices in South Korea. Various interpretive analyses of the author’s art experiences and stories mainly shape the development of this paper. It has also emphasized the role of technology in forging a more effective art learning. Likewise, this paper has disclosed the present relationships and systems in the power dynamics between the major practice and developing alternative practice network within the Korean educational system. The discussion hinges on the natural prospects and contradictions identified within the context of Korean education. Inherently, this paper provided an artist’s view of the cultural resources for the general professional transformation of art practitioners. It eventually leads to the broader discussions on the socio-educational status of art in education (Paek, p. 3).
The paper’s thesis addressed the process of qualifying an art professional’s meaning through personal experiences. It undertook a phenomenological and historical investigation of South Korean art educators’ perceptions of the purpose and processes in teaching art in the special context of Korea’s socio-cultural setting. With the use of the qualitative case study method for data collection and analysis, this research paper details the author’s experiences relating to the forming of his pedagogical principles as an art teacher who is oriented to western cultural influences and experiences. He used these knowledge and experiences to forge a further exploration into the further development of art education as a component to higher national goals and ideals.
The paper made a short history and description of the Korean art education before and after western influences so as to depict how the general art educators take the goals of art education and how they view themselves as art educators. Each of these analyses aids in showing the different attitudes and reactions to the modern art education. The research outcomes, then, give a direction to critically engage art teaching and learning, with an emphasis into the use of technology to effective pursue art education in the country. The major findings provide vital implications for curriculum policy design and the actual pedagogical methods for art education in a contemporary setting where there is material and aesthetic abundance in the country.
Another purpose of this study is to assess and emphasize the role of the South Korean art education system and the development of its local artists in the context of Korean government’s initiatives and in the greater importance of art as a vital social force. The data that the author has gathered support a strong connection between the role of the local artists in national and local development. The investigation utilized in this study explained how culture and politics affect the reshaping of Korean art education and their technology-linked art curriculum and how a non-Western country like South Korea has strengthened an art education system which finally supports the enrichment of their own culture. The information gathered in this research provides a stronger foundation for local educators and artists to understand the art education and the emerging art scene in South Korea.
The Development of Korean Arts for Community and National Development
Educational developments equip the people with a foundation to gather knowledge and master technology in a quick period of time. The significant 99% literacy rate in Korea and its excellent secondary education standards have risen to a very recognizable extent by which it can compete with advanced countries such as the U.S. and the UK. The development in art education can have a special push for the dramatic economic growth and social developments in the country.
With the expansion of art educational opportunities, the educational contents have become diverse. This is very applicable in today’s global village. The peoples of the world, while reinstating their own identities, live together in mutual understanding and cooperation. Hence, the further improvement of the art education with ample networking and alignment with technological applications and utilization will be very helpful for the country’s local and national growth. It will also promote development by harnessing more national consciousness among the Koreans.
Artistic activities in various disciplines such as the arts, literature, music, and architecture as carried out will impact into more fruitful stages in the economic and social development of the country as illustrated earlier. The integration of traditional ideas with western influences also mark significant advancements in the enhancement of the local art scene, which will eventually lead to a more global approach in art expressions. The quick economic development created an architectural boom and magnificent modern buildings as various significant edifices stand throughout the country. At present, Korea's construction technology has been marketed and used throughout the world. Such creative endeavors should be recreated in union with Korean traditional culture and eventually contribute to the development of a global culture.
The Role of the Korean Government in Korean Arts Now and in the Future
The South Korean government plays a vital role in reshaping the Korean art world. It eventually reshapes the whole country as art redounds to various economic, social and political spheres. As the Korean government has unveiled a set of long-term plans to promote the creative industry and put ample recognition in the contribution of the arts for the country’s future growth, the government has initiated programs starting from the education system.
The educational initiatives, which the government is investing into, emphasize individual goals and dreams, the development of well-rounded artists with global talents and skills, promotion of entrepreneurial and challenging attitude, securing professional training for its local artists, and in developing a lifelong education system (Woo, p. 1).
Its support for IT-related initiatives in education also greatly pushes the arts sector in the country. There is a major economic and social significance by which the Korean government is developing more IT-related classes in high schools and in building more learning institutions geared to produce technologically equipped graduates, including artists. The open access which the government is presently promoting will also greatly help in broadening its online education system which enables more people to pursue their academic interests and art pursuits.
The government also plays a crucial role in reinforcing laws related to the creative industry. As an example, the successful wave of Korean pop culture must be guarded by the rigid protection of intellectual works such as music. This is where the Korean creative industries face various challenges such as the illegal distribution of cultural products and software. Enhancing the public awareness of the contribution and potential of the creative industry for development is a major task for the Korean government. The creative industries especially promote the success of the Korean Wave in the market-driven cultural setting. The Korean government’s crucial efforts in actualizing its IP rights in the digital economy era are very significant.
The Role of the Korean Artists in Society
Another creative motivation takes form in the biographical contexts of the Korean artists themselves. Personal concerns highlight their thoughts and feelings on issues dealing with “territorial disputes, gender and sexuality in a masculine society and the media hype and overwhelming popularity of pop culture. This explosion of narratives and idiosyncratic styles in a globalized art background are hard to comprehend. Here is where the contemporary Korean artists make their own statements in the Korean art in particular and in the general Korean society.
The artists must reflect current issues to be relevant. This is an eternal challenge to all artists. They should contribute a historical weight to their role in cultural advancements. As artists shared, being an artist is a special type of solitary existence. One creates by themselves in their art environment. They create works that might provide an extremely important commentary on certain things. However, it is not yet well defined in terms of their role in preserving the local culture. Some of their art works might be expressed in that way. However, with the homogeneity of global art, there seems to be slight dislocation of their perceived social roles. It depends on how each artist views himself, not just in Korea but anywhere else.
Artists are sometimes frightening as they both bask in their individuality and in their commonness with others. They depict the nuances and emotions of life in abstract terms. The artist’s mission is not to entertain even if this could be a desired by-product. As explored in the discourse, most arts nowadays lean to the more end product type of a fulfillment, reiterating that artists must develop certain skills to thrive into the market driven economy. Their mission is to give the receiver the artistic statement, emotions and impressions to ponder on. However, some artists remain sentimental, viewing their works are pure aesthetics or ideal expressions which have no monetary or economic end.
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