KACES E-Newsletter volume.5

october 2016 Vol.5

contents KACES Review 04

‌ Blooming Arts and Colorful Future - 2016 International Arts Education Week

KACES Program 12

Talking about Education as an expansion of arts - Korea-China-Japan Arts and Culture Education Forum, “Artists and Arts Education”

KACES Interview 16

The current state of arts education from an international perspective - Teunis Ijdens, Ernst Wagner, Ralph Buck: Research on the National Arts Education System

KACES News 20

‌ KACES New Programs of 2016

KACES Message

Greetings!

For the last decade, KACES has been carrying out arts and culture education policy projects at diverse domestic fields, in connection with multiple persons concerned.

Now, KACES plans to think in depth about the qualitative improvement plans as much as its quantitative expansion of arts and culture education projects.

The KACES English newsletter will accordingly introduce the arts and culture education field of Korea, and will endeavor to share its value with partakers in many other countries.

In the previous issue of Vol. 4, implications on the blueprint of the way to proceed for arts and culture education of 2016 were given. In addition, KACES’s representative international exchange programs including, ‘Arts and Culture Education ODA’ and ‘International Arts Education Workshop’ were presented.

In this issue, live coverage of the ‘2016 World Arts and Culture Education Weekly Event’, interviews from outside specialists who visited KACES, and new programs of 2016 will be introduced.

We ask for your consistent interest in the future towards Korea’s arts and culture education, and wish to hear interesting news on arts and culture education from your countries as well.

Thank you.

The KACES Public Relations Team

KACES Review

Blooming Arts and Colorful Future 2016 International Arts Education Week The 2016 International Arts Education Week was held for seven days in and around the Digital Media City (DMC) district of Sangam-dong, Mapo-gu, Seoul, with the launch of a pre-event on May 21. As the event slogan “Arts, petal by petal, self-blooming and cross-seminating” indicates, the event unfolded like a festival at which participants shared the value and meaning of arts education and discussed ways to advance. We follow the seven-day journey with the photos below.

Opening Ceremony, “Blooming Arts and Colorful Surroundings”

The performance of Platform A

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The opening ceremony of the 2016 International Arts Education Week held at the YTN Media Hall on Monday, May 23, began with the performance of Platform A, followed by the opening remarks of Jimin Son, one of the child participants of the Kkumdarak Saturday Culture School and then the congratulatory address of Gwanju Jeong, the first vice minister of the Ministry of Culture, Sports and Tourism. Additionally, Haeseok Ryu, the school supervisor of the Gyeonggi Provincial Office of Education, was interviewed by citizens and delivered the field story of arts and cultural education, while Eunjeong Jang, a dance therapist, presented her thoughts about the meaning of arts education by underling its values and importance.

Opening announcement by Sung-Hye Joo, President of the Korea Arts and Culture Education Service (KACES)

Ji-Min Son’s opening remark as a representative of the child participants

Performance by students from Changho Elementary School in Geoje

Various events and exhibitions for arts and culture education A variety of events and exhibitions were held on the Nuridream Square and Sangam DMC streets from Saturday, May 21. For “Art performance: Art cube,” ten cubes in total were exhibited, including nine by beneficiaries of arts education and their teachers from nine regions, as well as a visitors’ book cube.

Beyond watching and attending, visitors and participants created a new story by combining the stories of cube makers and their own stories in art cubes. Also included were “Art Playground” created by citizens and artists; the “Hands-on Arts Workshops,” a arts and culture education program by a team of artists; “Learning and Doing Studio,” an arts education program designed by the learning community ArtE, “Policy Exhibition,” which shared culture and art education policies as well as relevant information, all of which welcomed any type of participation by the audience.

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On display from May 21 to 27 was the Art Performance: Art Cube – Wooden Playground Cube of the Culture Center of Buk-gu, Gwangju

From May 21 to 27: Art Cube – Photo cubes of Geumsan Chungcheong and Jungbudae

From May 21 to 27: Special Exhibition made by art instructors in the category of photos and integrated arts education From May 21 to 27: Art Performance: Art Cube – Photo Zone Cube of Nam Elementary School of Inje, Gangwon province

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From May 21 to 27: Arts Playground

From May 21 to 27: Policy Exhibition: Regional arts education support centers and their achievements in regional specialization (characterization)

From May 21 to 27: Hands-on Arts Workshop: Dance gift given to me by myself

Performance by students from Changho Elementary School in Geoje

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Participation programs where all participants become main characters “Curtain Call on Stage� consisted of performances and exhibitions where citizens presented their artistic talents and senses, a first of its kind of this year as a participation program for all Koreans. The Cheongchun Festival (Elderly Youth Festival), where senior citizens shared their experiences and stories in the field of arts and culture education, heightened the mood of the festival with colorful scenes of music, theatre, dance and lectures.

May 22, a festival for sharing experiences in the field of arts and culture education by senior citizens at the 2016 Cheongchun Festival

Curtain Call on Stage, a special performance by ordinary art-loving citizens

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On-the-Spot Storytelling, “Mind Table” Sitting around the “Mind Table,” people shared their opinions about ten subjects, including arts and administration, art instructors, civil arts and cultural education for three days between Tuesday and Thursday (May 24 to 26). Experts from various fields as well as leading culture and art educators in this field participated, shared their ideas during in-depth discussions of arts and culture education.

(May 24) On-the-Spot Story-telling, Mind Table first day: “Arts-Administration, Eye Contact”

(May 26) On-the-Spot Story-telling, Mind Table third day: ‘Field – People, Finding the Key’

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Academic forums to share knowledge and information about arts and culture education At the fourth Korea-China-Japan Arts and Culture Education Forum, “Artists and Arts Education,” experts and stakeholders in arts and culture education from three nations gathered and shared their policies for arts and culture education as well as cases of change in arts education. In ArtE fellow, positioned as a gateway for artists and arts educators to become arts education designers, there were twelve team presentations and demonstrations, demonstrating the passion of young artists toward arts and culture education. In addition, a dissertation contest for arts and culture education among national graduate school students was held for the first time this year, and the relevant Academic Society for culture and art education had a joint seminar for participants to share their knowledge and information about arts and culture education.

May 22, Youth, Blooming as Experts for Arts and culture education – ArtE Fellow

May 24, Korea-China-Japan Arts Education Forum, “Artists and Arts Education”

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Closing Ceremony ‘Daily Lives, Blooming Again with the Scent of Art’ There was a closing ceremony featuring the last scene of the 2016 International Arts Education Week, which started on Friday, May 27, at the YTN Media Hall. Starting with the closing remarks of supporters of the events during the week, stories from the events over the previous seven days which were filmed were shown in video clips, and the performances and the results of various workshops and forums were shared. Among them, an awards ceremony for contributors to arts and culture education and the winner of the national graduate school students’ dissertation contest made the event all the more meaningful.

The Closing Ceremony of the 2016 International Arts Education Week

Celebration Performance by the Winning Team of Curtain Call on Stage

Celebration Performance by the Winning Team of Curtain Call on Stage ArtE Fellow Winners

International Arts Education Week The Fourth week of May is ‘International Arts Education Week’ In 2010, UNESCO and the Korean government jointly hosted the 2nd World Conference on Arts Education in South Korea with the goal to strengthen and share the values of arts and cultural education for all. This milestone event served the Korean government to launch the ‘The Seoul Agenda: Goals for the Development of Arts Education,’ which was in turn adapted at ‘the 36th UNESCO General Conference’ in 2011 held at the UNESCO headquarters in Paris, France. Since then, the fourth week of May, the same week that the 2010 World Conference on Arts Education took places, was proclaimed as ‘International Arts Education Week.’

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KACES Program

Talking about Education as an expansion of arts Korea-China-Japan Arts and Culture Education Forum, “Artists and Arts Education” Korea-China-Japan Arts and Culture Education Forum, “Artists and Arts Education” was held in Samgamdong, Seoul on Tuesday, May 24. In this forum, stakeholders and experts in the area of arts and culture education from Korea, China and Japan gathered together to examine each nation’s perspective on the value and power of arts and to share recent issues and examples in this field. This forum started in 2014 in Korea, with hosting by Japan and China in the following years before returning to Seoul as the fourth forum, under the theme “Artists and Arts Education.” Many people in this field from the three East Asian nations involved, which are geographically close to each other but which have had few opportunities to share arts experiences thus far, put their heads together to discuss various concerns in the field of arts education.

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Artists, Meeting with Arts Education Jeong Ho Nam, a professor at the Korea National University of Arts, presented in the forum under the theme of “Artists as Arts Educators.” He said that teaching well means helping students find their own dance moves and not having them follow the moves of the teacher. In other words, he focused on “improvisation” to help students realize themselves and to express their inner feelings. At this point, education becomes another extension of art. In a modern society where people depend on machines instead of engaging in manual labor and where they are losing their natural abilities to undertake physical activities, professor Nam stressed that everyone can and wants to dance. According to his presentation, he observed at the Haja Production School that physical activity can lead to effective communication via improvised dance experiences among adolescents and ordinary citizens. He believes that art has significant power to make people change, and in this regard, arts education can be an important option for artists who enjoy the scene of education more than being on stage.

He highlighted that in order for such an option to be meaningful, an artist as an educator should have an artist’s attitude, talent and approach to present the content to students.

Kazumi Minoguchi, an instructor at the Graduate School of Tokyo University of the Arts in the Department of International Arts Creation and Research) has attempted to implement joint outreach programs and projects with young performers with an interest in distribution programs for classical music. For her, the scene of music education has unique characteristics compared to other fields of art in that performers can deliver the same level of music in the classroom as they play on the stage and that they can present a piece of artwork in its original form. ”People often tend to think that music appreciation education is

relatively passive compared to creation and hands-on workshop programs, but listening well requires the active engagement of the audience. Appreciation lessons allow children to become mature enough to understand others, and genuine communication ability starts from there, not from merely talking about what they want to say. For performers as artists, the ability to communicate matters. They should be able to explain what they found and to explain thoughts in the form of music and to listen to others’ music as well, beyond simply performing music. Furthermore, he said that artists should consider various outreach programs as one of their most valuable career options, where they can meet future audiences, away from a narrow career perspective only focusing on stage performances.

Wang Zhanping, Associate Director of the Department of Social Studies Education at the Central Culture Management Leadership Academy in China, is currently in charge of nurturing and training party government leaders.

He introduced examples from the Central Culture Management Leadership Academy and the current status of arts education for the public in China, presenting cases of professional elite education and public education, respectively. China’s public arts education is implemented in various genres in 44,423 culture centers established across the country, and its arts education features convergence between tradition and modern arts while centering on the succession of traditional arts.

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Artists, unfolding art education Koichi Ueno, president of the Research Association on Learning through Japanese Art, reflected on the task at hand at Japanese schools and art appreciation education at museums, introducing their efforts to address these issues. Art appreciation education in Japan’s primary and middle schools has genuine goals to discover new meanings by understanding differences between people and gaining the perspective of relativity via conversation and criticism. Looking at the actual practices, however, the time dedicated to art appreciation classes is short compared to that allotted for drawing or creating, and there are not many museums in some neighborhoods, while teachers do not have enough knowledge of appreciation classes themselves. Moreover, museums have a short history in education, the people in charge are not education experts in many cases, education activities either focus extremely on the academic or the entertainment parts, and the system lacks an abundance of shared skills for teaching art.

In order to solve these problems, the Research Association on Learning via Arts, led by their president Koichi Ueno, is pushing forward with various activities, such as nurturing leaders, delivering information, and learning support. In particular, he introduced several interesting cases. Among them were art appreciation education for elementary school students through artwork exhibitions and conversations at the Lifelong Learning Institute in neighborhoods without art museums. Other initiatives involved schools inviting artists who exhibit their artwork for students to gain an appreciate of art, creation classes with writers to encourage students to create based on their feelings, and the making of traditional Japanese sweets with clay as an activity to learn regional traditions and move towards creation from simple appreciation.

Rho Joo-hee, the head of the Korean Audiation Education Research Center, briefly demonstrated a class based on harmony (chord) sensitivity.

Harmony sensitivity refers to the audiation ability to feel in

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detail and freely enjoy harmony and its progress. Forum participants took part in the educational activity “trees and winds,” where they listened to sound without a score and felt and understood the variation of the harmony, while trying to become the harmony of the wind, sun, clouds and a boy who visited a tree which has been left alone for 500 years.

Kaoru Kawashima, the director in charge of the “Traditional Arts Experience for Kids” program of the Japanese Arts Performers Association, focused on traditional arts with a presentation entitled “When traditional cultures breath among children: the approach and the role of artists.” Practical interest in traditional arts, in the mainstream of lectures until the 1950s in Japan, has been fading in recent years despite the fact that Japanese culture has become much more prominent on the international stage in the era of globalization. In order for children to break away from the stereotypical thinking that traditional arts are boring and to help them to love traditional arts and respect traditional artists through new experiences, a non-profit foundation, the Japanese Arts Performers Association, with 68 groups of members in the field of art performance, has implemented the “Traditional Arts Experience for Kids” program as part of the culture policy of Tokyo. With input from professional instructors, education programs for children in professional places for practice and presentation have been conducted as long-term programs lasting six months, resulting in the educational achievement of developing in the children a sense of tradition and aspiration toward the teachers of this art form.

Zhou Meifen, in charge of the Division of International Affairs of the Chinese Central Culture Management Leadership Academy, suggested that working-level cooperation should be strengthened through the platform of the arts and culture education forum, exchanges and cooperation via the “ASEAN + 3 Cultural Human Resource Development Cooperation Workshop,” forming the “Arts Education Association of Korea, China and Japan,” mutual dispatches of private arts delegates to private arts festival via the International Council of Organizations of Folklore Festivals and Folk Art (CIOFF), and the creation of a site at which to share cases and examples from the three

Korea, China and Japan – Expecting New Discoveries and Cooperation During the general discussion led by Youngjeong Park, a researcher at the Korea Culture & Tourism Institute, seven presenters talked about their experiences, cases, and the current status of policies for arts education in each nation. In Japan, there is an ongoing effort to sample new and various instances of appreciation, production and demonstration by private associations linked with school units, while China has arts education for the public in general with many key agencies involved, such as local culture centers led by the government.

field experts in arts education, there should be other opportunities for them to have in-depth discussions on each specific theme. We hope that this meeting will lead to future encounters to discuss other interesting findings and to greater cooperation in the field of arts education in the three nations.

In this forum, a variety of issues are dealt with, ranging from root questions regarding the roles of artists in arts education to field cases by genre in each nation, and means of cooperation and exchanges among the three nations. As there are not many opportunity for these nations mutually to understand the arts education policies and the actual practices of each other, this forum represented a valuable opportunity to have a meaningful discussion on these topics. At the same time, however, in order to lay a practical foundation for exchanges and cooperation by discovering and understanding the universality and special characteristics among

The Korea-China-Japan Arts and culture Education Forum is where people related to this field and experts gather to example national perspectives on the value and power of art and to share their opinions about the changes in arts education and examples. This forum started as one of major projects of the Shanghai Action Plan (2012 – 2014), devised for advanced cultural cooperation among the three countries during the fourth tripartite meeting of the cultural ministers held in Shanghai, China, on May 5, 2012. Starting in Seoul in 2013, the forum was hosted by Japan and then China,

Korea-China-Japan Arts and culture Education Forum, What is it?

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KACES Interview

The current state of arts education from an international perspective Teunis Ijdens, Ernst Wagner, Ralph Buck: Research on the National Arts Education System

Please introduce yourself to our readers.

Ralph Buck

Ernst Wagner

I am the Dean of the Department of Dance at University of Auckland, New Zealand. I am also the chair of the World Alliance for Arts Education, WAAE, as well as a representative of the World Dance Alliance.

I hold the Friedrich-AlexanderUniversität Erlangen-Nürnberg UNESCO Chair in Arts and Culture in Education and am also a researcher in the International Network for Research in Arts Education, INRAE. INRAE issues an academic journal every year and is carrying out a variety of research related to arts and culture education.

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Teunis Ijdens I am a senior researcher at Netherlands Expertise Centre for Cultural Education and Amateur Arts, LKCA. I am also a sociologist as well as an expert researcher on policies for the arts. Since initially being invited to the “Monitoring National Arts Education Systems” event held in Munich, Germany, by the International Arts Education Researchers group in 2014, I have taken part in MONAES.

Three researchers associated with the program “Monitoring National Arts Education Systems - MONAES” attended International Conference on Cultural Policy Research, ICCPR 2016, held at Sookmyung Women’s University between July 5 and July 9, presenting the agenda for international co-research on arts and culture education. Prior to the main event, KACES held a mini-forum on “Monitoring National Arts Education Systems” on 5 July (Tue), after which KACES met the three researchers to hear more about their research.

It appears that the program “Monitoring National Arts Education Systems” was conducted on the premise that arts education can be interpreted widely with various concepts and approaches, rather than being defined as one concept. What was the concept and definition of arts education as interpreted at the national level?

Ijdens: According to a survey, 85% of respondents

said that they like to use the term “arts education.”

Consequently, the definition of or an understanding of arts education does not appear to be a major issue among experts. The remaining 15% reported that they want to use different terms according to the genre, such as creativity education, culture education, music education or fine arts education, which were among the expected responses and were not that surprising.

To the question of “What types of expressions do you want to use when defining arts education?” most respondents mentioned traditional fields of art, such as visual art and design. Beauty care or tattoos were also mentioned, but the percentages in these cases were low.

When they explained the content of arts education, many of the answers were in the category of traditional arts education.

Therefore, how far can the range of arts education reach in the currently changing era and environment? How deeply and widely we should look into arts education?

These issues are frequently discussed around the world. If we expand arts education to culture education, the range would be too broad to encompass all types of education, and if that is the case, we will have to provide too broad of an education to nurture arts instructors. On the other hand, if we define arts education too narrowly, it will lose its relevancy to our society. Thus, the balance matters.

“Monitoring National Arts Education Systems” is designed with five research items in the center.

Among them, access and quality, social and cultural challenges are understood to be based on the three goals specified by the Seoul Agenda. I am wondering how keywords such as the renewal of education and research have been derived and what the meanings of these words are.

Wagner: Those are not new concepts; rather, they are key words hidden in the Seoul Agenda. When we look at the third goal, social and cultural challenges from a wider perspective include improvements in education and research, as the latter is also an inevitable factor in this field of research.

Ijdens: This research is centered on a specific aspect of

the Seoul Agenda. Moreover, in terms of an improvement in education, arts education plays a key role. Therefore, the related content is now included in the research.

Depending on the background, the perspective, and the field of experts, the responses can vary.

Moreover, it would not be easy to submit policies, institutions and examples by an expert representing one nation. Is there any expert participating in the survey representing Korea?

Ijdens: As far as I remember, four experts took part in this research. Some experts said they would participate in the survey while revealing their individual opinions but would not take part in the second survey of the national examination. They appear to feel some burden in that they must respond to a survey representing their

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nation. However, what we considered to be important when doing the research was to listen to the independent opinions of experts rather than that of the government.

For some nations, this can be problematic, and some experts are not willing to voice their opinions as they feel responsible for what they say. In the cases in Europe, however, the opposite was true. Accordingly, it was very interesting to see that how arts education systems are linked with political situations and the cultural differences among nations.

Wagner: We hope that many Korean experts will

take part. We publish an academic journal every year, and welcome the participation or comments of all national researchers. If a Korean team of experts joins the international research, I think that the cooperation between Korea and Europe will be strengthened.

How far have national arts education systems come, and tell us about your plans after the research?

Wagner: The research is almost completed, and what remains to be completed are the analysis, results analysis and interpretation. I think it will take some time, and we are discussing the best format by which to share and discuss the results. Most likely, we will soon issue an academic journal related to the theme and deliver the results to the UNESCO headquarters. In 2010, the Seoul Agenda was introduced at the UNESCO World Conference on Arts Education, followed by the MONAES report. Informing UNESCO of the fact that discussions related to arts education are still ongoing in the international community is our short-term plan.

Moreover, how we can find the financial resources and do such research on a regular basis is a long-term concern, and we are making plans for that as well. Through this long-run research, I would like to look at differences and developments that will have been made five or ten years from now. Furthermore, I consider looking at the trends and movements in each region in the global current.

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Buck: I believe that the power of networking will become all the more important in the future. Various networks are creating a structure or a system that enables international discussions to continue and to be shared widely. In order for “Monitoring National Arts Education Systems” to be effective in the future, the University Twinning and Networking (UNITWIN) program or INRAE should continue to play their roles.

They will serve to prevent networks from disappearing and to provide governance with the cooperation of many networks, such as KACES. Ijdens: In order for “Monitoring National Arts Education Systems” to become a practical international project, this research should be implemented in subdivisions by nation or by regions during the next stage. In Central and South America, where Spanish is generally used, there are many experts, but they could not take part in the research this time. This is also true for many parts of Asia and Africa.

It may not be reasonable to believe that everything can be measured under the same criteria. Our goal should be to achieve meaningful results. This research project itself was a very ambitious plan, and there were many doubts about whether the project would be feasible. However, it should start from somewhere; therefore, we started by overtaxing our strength. I believe that “Monitoring National Arts Education Systems” will be helpful in creating a virtuous circle between research and network development.

Wagner: Korea has leadership in creating a discourse on arts education in the international community. It held the UNESCO Conference on Arts Education and hosts the International Arts Education Week every year, showing very positive performances. I hope that Korea will keep making these efforts. Secondly, among the concepts considered to be important by UNESCO is “sustainable development.” We are considering how to link arts education with sustainable development and making efforts to meet that goal. Cooperation with a Korean team will be great help in this regard.

Teunis Ijdens He is a sociologist as well as a policy researcher of arts, arts education, cultural engagement, policies for the cultural industry, labor markets and organizations. Currently, he is working as a senior researcher at LKCA.

Ernst Wagner He served as a professor of visual arts, studying arts history and arts philosophy at the University of Munich. From 2006 to 2008, he worked as a researcher at the Institute for School Quality and Research in Education in Munich. He has been teaching at Friedrich-Alexander-Universität Erlangen-Nßrnberg, FAU, as a chair professor of UNESCO arts and culture education since 2008.

Ralph Buck Currently he is serving as the Dean of the Department of Dance at the University of Auckland. He is also a representative of the World Dance Alliance and the chairperson of several training seminar networks. He also served as a consultant to the second arts education conference and as a member of the International Advisory Committee of UNESCO.

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KACES NEWS

KACES New Programs of 2016 In the second half of the year in 2016, arts and culture education will actively visit schools and local communities.

The followings are the newly launched programs by KACES!

Cultural Police Substation Wherever we go, we can easily find a police substation (community security center) that looks all around the neighborhood and keeps its residents safe. Such police substation not only serves its policing function, but is newly born as a town hub of arts and culture, where anyone can have free access to the area and meet their neighbors, while enjoying arts and culture. The ‘Cultural Police Substation’, jointly promoted by Ministry of Culture, Sports and Tourism and the National Police Agency, remodeled the community security center and manages arts and culture activities that are proposed directly from residents, and healing arts programs designed for crime victims and their families. The ‘Cultural Police Substation’, where a police officer becomes our town’s artist and where the local stories become a work of art, has transformed into a safe space that secures both our safety and our minds.

At the Cultural Police Substation, programs including, local residents’ arts and culture education program (a program that enables residents to easily access and learn about design, play, and dancing in their daily lives), healing arts program (a program for psychological recovery of crime victims), and resident initiative program (a program participated and led by the local people), will be progressed.

KCP (KACES Certificate Program) One of the major focus of KACES is providing professional development for teaching artists, arts educators and administrators. Since its inception, KACES has been researching and providing arts educational programs for emerging arts leaders. As the KACES have reached a great number of arts educators through various educational programs, there are more demands for advanced programs in terms of artistry, pedagogy, etc. After research and consulting, KACES was able to launch KCP research and the pilot programs this fall.

The three research teams were specialized in theatre arts, design, and music respectively. The pilot programs were able to cover what are needed to be and for arts educators during the 80hour course each. We look forward to seeing the first 120 participants actively play their roles to support the quality arts education. * Related Article(Korean) - "Arte Academy, '2016 Design Thinking Map'"

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Arts Day ‘Arts Day’ is an arts activity supporting project that appoints and manages one day a week as an ‘Arts Day’, linking previously existing art subjects (music, art) to free-learning semester art activity sessions.

Through ‘Arts Day’, more opportunities of art experience can be given effectively to students by operation with concentration on diverse arts education programs including, play, musical, crafts, photography, and the like.

The Arts Day is expected to provide continuous motivation towards students’ arts activities, with its program design customized for each school based on the student needs. Through cooperation between schools and arts organizations, the program design takes into account students’ preference, level, and education environment. Moreover, intense aid will be given to operation of the designed programs through artist-support for each genre, and arts and culture honorary teachers special program, composed of renowned artists of each field.

Dream School ‘2016 Dream School’ is a program that supports middle school students participating in club activities, with dreams toward performing arts. The program enables students to experience the whole process of planning, production, and execution, under guidance of currently working professionals, such as musical directors and producers.

In particular, throughout 16 sessions, various categories of experience for performance demonstration, for example, auditions and making performance accessories, will be systematically provided alongside with lectures from currently working professionals including, exercise of improvisatory acting and making scenes. Furthermore, it will be more than just students planning, composing, and completing their stories into their own creative performances.

In order to enhance students’ sense of accomplishment, their performances will be arranged and shown in respective regions by each school.

Culture-Chargers for Workers ‘Culture-Charging for Workers’ project is a project that supports office workers’ arts and culture activities, which will be progressed from this October until next January on a national scale. Among clubs active within their companies, around forty <Culture-Chargers> will be selected, and artists related to their area will be accredited to them.

Clubs that are selected as <Culture-Chargers> will be supported with art specialists assigned twice a month through tailored activities that reflect their needs including, masterclass, performance, work assessment, and open forum. Also, opportunities will be given in terms of watching the live scenes of arts and culture on the ‘Korean Culture Day (a national project that designates the last Wednesday of every month to help foster the public’s easier access to culture)’, and can also be supported with arts and culture honorary teachers program, consisted of renowned artists.

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-KACES e-Newsletter Volume.5Published by the Korea Arts & Culture Education Service 76, Sangamsan-ro, Mapo-gu, Seoul, Korea, 03926 eng.arte.or.kr / kaces@arte.or.kr

Serial No. KACES-1650-C005

Copyright © 2016 Korea Arts & Culture Education Service