KACES e-Newsletter Volume.6 by artE

JANUARY

2017 VOL.6

Contents A Look Back on KACES 2016 2016 Program 04

Orchestra of ‘Dream’, ‘dreaming’ through orchestra

Arts flourish in schools

Closing the eyes, a new world opens - Kumdarak Saturday Cultural School, Weekend Cultural Trip

Weaving thoughts and imagination into design - ArtE Academy '2016 KCP - Design : Idea Map Exploration'

Arts and culture education as artists’ social-participatory activity - Paul Hamlyn Foundation, artists’ capacity development project in England

2016 People 18

My thoughts? I express them through music. Tae-Hyun Won, Very Young Composers / Su-Jung So, Instructor

Children grow while ‘romping’ around with tradition - Director Hye-Jin Yoon, Main Instructor of the Jeongdong Theater Kumdarak Saturday Cultural School

KACES Message

Greetings! In 2016, KACES met a large number of participants with the arts and culture education program, targeted for the young to the elderly. Moreover, through continuous interaction with overseas partakers, we shared values of arts and culture education concerns on its role. Starting with the May International Arts Education Week, we have implemented diverse arts and culture education programs that include, Teaching Artists in Schools, School and Community Arts and Culture Education Programs, and International Exchange Programs. In addition, through forums, symposiums, training, and research, we pursued foundational projects for the development of arts and culture education. In this issue, we introduce the KACES main program fields and the people we met. Through examples of Kumdarak Saturday Cultural School (an outside of school arts and culture education program), KCP (a program for development and realization of outstanding arts and culture education), and participation in ITAC3(The Third International Teaching Artist Conference) held in England, we track the trends of Korean arts and culture education. Also, through interviews with participants and teaching artists, we look into their thoughts, philosophies, and concerns. We appreciate your great interest towards KACES and Korean arts and culture education throughout the year. Continued in 2017, diversified news on arts and culture education will be delivered to you. We will ensure you that KACES 2017 newsletter also actively communicates with readers around the world through arts and culture education scenes. As always, thank you for your continued support. Please, feel free to send us your comments and thoughts.

Thank you.

The KACES Public Relations Team

2016 Program

Orchestra of ‘Dream’, ‘dreaming’ through orchestra In 2016, KACES met many local participants around multiple regions with various schoolcommunity arts and culture education programs. An event was prepared in November for participants to freely show their talents developed throughout the year with the program. News are prepared on children’s orchestra stage: Korean El Sistema ‘Orchestra of Dream’. Also, outcome performances as a result of participation in arts and culture education by students of culturally disadvantaged small-sized schools ‘Arts-Flower Seeds (Yaesulkot Shi-at) School’ are introduced, which were filled with various music, play, and musical stages.

2016 Orchestra of Dream Joint Performance Here, it was the site of ‘2016 Orchestra of Dream Joint Performance’, where the ocean, children and music harmonized for two nights and three days whilst deepening of autumn. This year’s Orchestra of Dream Joint Performance was fruitfully organized by utilizing a wide variety of themes and spaces including, ‘Becoming one through chorus performance’, ‘Opening concert’, ‘Concert with movies’, ‘Concert with commentaries’, ‘Concert in the lobby’ and so on. The performances showed signs of efforts toward making a stage with greater completion and for the audience to enjoy as well, by escaping from its features of an internal event. “I came because another school parent asked to go. I didn’t expect much since it was a children’s performance, but it was fine in terms of quality and was also fun.”– Yun-Jeong Kim (Audience, A citizen of Tongyeong) (Muan Orchestra of Dream <Concert with movies> and <TIMF Ensemble, Meeting professional players!> An interview with a child composer, Min-Gwon Choi, from ‘Very Young Composers’)

With professional players “I wonder how to make clear sounds on high notes with clarinets.” “I’m curious how you overcame hard times while playing the violin.” “I would like to know how you became to choose the instrument, horn.” In the midst of ‘TIMF Ensemble’ performance held in the concert hall on October 1, a Q&A session was prepared for answering questions collected beforehand from the children to professional players. “I first started with a trumpet, but then a friend next to me played so well that I changed to horn, eager to beat that friend. But it turned out that it fit me so well.” Bursts of laughter was heard from an unexpected answer from the player. The atmosphere also turned serious when the player explained on breathing skills and ways to recover from a slump. This day, the TIMF Ensemble performed for ‘Orchestra of Dream’ members and the audience. Performance repertoires included, <Horn Trio in E flat Major, Op. 40: II, IV> from Brahms, <The Chimney of King René> from the French composer, Milhaud, <Clarinet Trio ‘Gassenhauer’> from Beethoven, and <Sextet for Piano and Wind Quintet, Op. 100> from Poulenc. More than anything, it was very impressive to hear the TIMF Ensemble playing <Not a Squirrel but a Cat> composed by Min-Gwon Choi, a child composer who participated in the Kumdarak Saturday Cultural School’s ‘Very Young Composers’ program. Despite worries, children became quiet at once with the start of the performance, and although it lasted long enough to be boring, most people listened carefully. Indeed, as there is a saying that ‘better to love knowing than to know, and better to enjoy than to love’, it was clear that all members of the ‘Orchestra of Dream’ knew, loved, and enjoyed a lot.

“I used to have a very dark personality. But I think my mind was cured greatly ever since I got to know about music better as I learned how to play an instrument and participated in the ensemble.” – Han-Gyeol Choi (A member of the Mokpo Orchestra of Dream) “I feel a sense of satisfaction by playing the cello. It was my first time this year to participate in the joint performance, and I think it was amazing and wonderful.” – Tae-Young Kim (A member of the Andong Orchestra of Dream) “I feel like something is welling up in my heart.” – JunWon Huh (A member of the Mokpo Orchestra of Dream) Children went on with ‘testimonies’ on the ‘gift of music’, even when they sometimes started whining “I just want to stop watching performances~!”. Carrying around a musical instrument gives the impression of an affluent background in all times. On this account, maybe instruments encourage these children, who wouldn’t have been able to even dream of such thing, due to their family circumstances. Looking into their shining eyes, we might be hoping for these children to have self-confidence that they can actually achieve something, and to have the joy of unity by sharing instead of struggling alone in competition. Perhaps we are ‘dreaming’ of such world through the Orchestra of ‘Dream’.

Orchestra of Dream The Orchestra of Dream is a ‘children-teenager orchestra education supporting project’, carried out jointly by the Ministry of Culture, Sports and Tourism with KACES. Apart from conventional instrument-centered music education, it supports children and teenagers to experience ‘mutual learning’ and ‘cooperation’ through orchestra ensemble and music sensibility education. By extension, it helps them to grow into a healthy citizen with self-esteem and communal personality. Breaking the tradition of existing music education with emphasis on instruments and system of apprentice, multi-dimensional growth of children and teenagers is pursued with orchestra ensemble education, through an MOU signed with the Foundation of Simón Bolívar Youth Orchestra of Venezuela (El Sistema) in February, 2012. Currently in 2016, approximately 2,400 children and teenagers are participating together with 42 nationwide local institutions.

2016 Program

Arts flourish in schools Some elementary, middle and high schools, especially smaller ones, have seen a blossoming of the arts all across the country thanks to the government's recent Seed Schools With Artistic Flowers project. This government-led project hopes to provide funding for up to four years to smaller schools that have an enrollment of fewer than 400 students. These schools have traditionally had less access to cultural or artistic activities. The project will allow them to run classes that give students a chance to study acting, dance, singing and music.

Students at the Gyeongbuk Aviation High School learn how to play the saxophone as part of the Seed Schools With Artistic Flowers program.

Since the Ministry of Culture, Sports and Tourism launched the project in 2008, a total of 87 schools nationwide have so far benefited from this campaign. This year alone, 50 schools are part of the project, offering their students an opportunity to enjoy the music, theater and dance, both modern and traditional. Under this project, students can develop their artistic talent through musical performances, orchestras or dancing, in class or as after-school activities.

On Oct. 31, students from six schools that have grown “artistic flowers” through the program gathered at the Taekwondowon in Muju, Jeollabuk-do Province, to showcase their singing, dancing and acting skills that they have been developing over the past few years. The participating students came from Bukchon Elementary School on Jeju Island, Hamwoul Elementary School in Ulsan and Oson Elementary School in Chungcheongbukdo Province, three schools that have been taking part in the campaign since 2013. There were also

choir from the Gyeongbuk Aviation High School in A Gyeongsangbuk-do Province sings a tune from the famous musical ‘Les Miserables’ in Muju, Jeollabuk-do Province, on Oct. 31. The students have been practicing their singing in their artistic classes that are part of the Seed Schools With Artistic Flowers campaign.

Students from Bukchon Elementary School on Jeju Island, one of 87 schools that are part of the Seed Schools With Artistic Flowers campaign, perform, dance and sing as part of the new artistic program that the school has joined since 2013.

students from the Gyeongbuk Aviation High School in Gyeongsangbuk-do Province, Kunsan Nam High School in Jeollabuk-do Province and Seongpo Middle School in Gyeongsangnam-do Province, and all three joined the government-led program in 2014. The choir of young performers sang a song from the well-known musical “Les Miserables,” played wind instruments and put on their own rendition of a musical based on a folk tale from Jeju Island. “This program has helped schools on the brink of closure to attract more students with a variety of artistic and musical activities. It has also helped students develop their own abilities to express themselves, their creativity and their spirit of cooperation,” said an official from the culture ministry. “This project has really resulted in a positive outcome for all respective communities.” By Sohn JiAe Korea.net Staff Writer Photos: Ministry of Culture, Sports and Tourism jiae5853@korea.kr

Arts-Flower Seeds (Yaesulkot Shi-at) School Arts-Flower Seeds (Yaesulkot Shi-at) School is a project that supports a four-year arts and culture education to small-sized schools with under 400 students. Selected schools are supported with maximum 80 million KRW per year, which includes budgets for professional teaching artists, educational materials, and art scene visits. The school runs distinctive programs by selecting freely among fields of Koran music, Western music, play, integrated arts education and the like. Through such cultural arts activities, students grow cultural sensibilities, creativity, expressiveness and cooperative minds together. In addition, local communities are also vitalized with parent lectures and talent donation as a means to linking schools and local communities, since selection is made among schools in the rural communities, vulnerable areas within the city, and culturally disadvantaged regions. Currently, 47 schools in total are making efforts to plant the seeds and grow sprouts for flowers of art.

2016 Program

Closing the eyes, a new world opens Kumdarak Saturday Cultural School, Weekend Cultural Trip

<Dancing in the Dark> Eun-Ji Hong _ Performance Arts Director Among programs of ‘Kumdarak Saturday Cultural School’, where many outside of school cultural arts can be experienced on every Saturdays, ‘Weekend Cultural Trip’ is a journey of sharing new experiences on a trip apart from everyday life, with artists actively taking part in art, music, dance, photography, and literature. With modern dancer Joo-Bin Kim taking the lead, Dancing in the Dark was a program prepared in order to close the eyes and to concentrate solely on body movements and sounds of the nature. In this course, ways to awaken body senses and travelling methods were introduced on the first week, and then on the second week, participants went on a trip altogether. Each time, the departing and destination locations for the trip changed. At the Jeonju Eco Center, sixteen participants from six families took part in <Dancing in the Dark> during October, a pleasant season with perfect weather for a trip.

A trip to an unseen world

How would contemporary people, whose dependence on eyesight exceeds 90%, move when their visions are blocked? Moreover, what would happen if they move outdoors instead of indoors with their eyesight covered? On the bus towards the destination from the meeting place, participants get to wear shades around five minutes prior to arrival. With their eyes covered, they make their first steps off the bus without any information about the area once the bus stops. Since their vision is shut off, everything including the feelings on the feet, the smell, surrounding sounds, and the touches upon the hand feels so fearful and new. With the instructor’s lead, they head towards somewhere step by step like a train, with hands on the shoulders of the person right in front. Tensions relieved, the blinded children speak out everything they feel. When they reach a certain point after a march in the dark, they now have to let go of each other, be apart and must spend time of their own. They reach out their hands in anxiety of being parted from the others. Once enduring the time alone, they start to feel earthy smells and the wind brushing their fingertips before they even know it. Some stand beside the tree, and some lie on a bench. They stay within their time of their own. “As soon as stepping out of the bus with covered eyes, we picture the area inside our minds by feeling surrounding sounds and smells. Although invisible, you draw a scene in imagination based on your own

experience. When that process is over, we take off the shade, witness the path we walked on and reorganize the strangeness of sensual experience by comparing it with the picture we imagined of.” – Dancer Joo-Bin Kim, Main Instructor of <Dancing in the Dark> Instructor Joo-Bin Kim emphasizes that spending time alone is the climax of this course, mentioning that this time is primarily for awakening the senses, but also is intended to concentrate on inner sides at a place unknown and unable to see. The short period of time that only lasts from about five to ten minutes, represents different journeys of lives from participants’ varying reactions. It’s regarded successful if one can take the experience of dealing with the situation with confidence, as a process of being parted from familiar feelings or emotional control and overcoming moments of fear and unfamiliarity. Nevertheless, it doesn’t matter even when it is unsuccessful, since the path of life of all individuals are different. Thus, although this program aims for families, it is also crucial that each individual participant participates with one’s own identity. Family participants should be fully ‘themselves’ rather as familiar selfidentification of ‘someone’s mother’ or ‘someone’s father’. Change in understanding each other among family members may also be possible, after experiencing independent self-perception. As a last event, gathered families take a family photo together.

Time for reaching out to myself

Before heading back, participants take the opportunity to plan their own end of the trip. Among suggested options to visit in downtown Jeonju, they agree on two places. On the bus towards the last part of the trip, the instructor asks participants on their overall feelings, and hands over the microphone one by one to listen to their thoughts.

we are living in an age where fitting oneself is mistaken for being well-off, I wanted to give time for discovering inner impulsions and self-consciousness through arts education.’ As like in her comment, we hope this special experience of escaping from daily routine may become a driving force to positively alter it, in reverse.

“I was more scared than other people throughout the program, and thought that information was being controlled a lot. I realized that I was a type of person who hated to be in a situation where I cannot control myself.” “We had no other choice than to rely on each other because we had our eyes covered. I think it’s important to experience this kind of situation. Although the children wanted to take the shades off, they coped with the circumstances by constantly talking to each other. Later, it seemed as if they were enjoying the situation.” After hearing the comments from participants, the instructor closes the program by reminding that art can start from small changes such as looking at objects with different viewpoints. The instructor also expresses hope towards participants having such slight difference in the way of looking at everyday life, with the senses they gained through the program. Travel courses we experience are usually similar. Having started the program with desires to approach differently to obvious and safe trips, instructor Joo-Bin Kim started with trying to make the utmost unfamiliar feelings in sensing the environment differently by covering the eyes. It is her idea that touching upon the deeper parts of the mind through body and skin can be valuable enough to be the start of dancing. She also believes that sharpening attention to all senses with the eyes closed itself is, in fact, dancing. ‘Dancing in the Dark’ represents concentration and energy in every finger, due to limited senses, together with moving on unplanned inner impulse. Self-belief on being able to follow the urge can be the beginning of art, and the experience of having self-conviction is the first step of becoming closer to art. Instructor Joo-Bin Kim, a choreographer, a dancer, and a photographer, says that “not all that is gained through functional skills can be an artistic experience. I hope this can be an opportunity to find oneself approaching art without even noticing, by revitalizing one’s senses.” Reflected on this program is how an individual creator thinks on this era. Instructor Joo-Bin Kim notes, ‘although

Kumdarak Saturday Cultural School, Weekend Cultural Trip Kumdarak Saturday Cultural School is an outside of school arts and culture education program, jointly run by the Ministry of Culture, Sports and Tourism and KACES with various cultural arts institutions and organizations. With the introduction of five-schooldays per week, leisure culture is fostered on every Saturdays for children, teenagers and their families. Its aim is for their development of cultural arts knowledge and for communication among their peers and family members. Among many, ‘Weekend Culture Trip’ is a program to go on a trip with artists who are actively taking part in art, music, dance, photography, and literature. Teenagers or families participate in going on a trip for the day or overnight with an artist. Initiated in 2014, the ‘Weekend Culture Trip’ this year runs from September until November; six programs, each with four sessions.

2016 Program

Weaving thoughts and imagination into design

- ArtE Academy ‘2016 KCP - Design : Idea Map Exploration’ For arts and culture education to bloom, capacities of teachers and specialists who stand at the center of the education is extremely important. KACES is running an ArtE Academy that develops and provides education programs with different themes and subjects, in order to reinforce capacities of field-working specialists and to discover potential talents. This year, we are currently in the process of ‘development research in outstanding arts and culture education specialist training program (KACES Certificate Program, KCP)’. We are also test-operating education programs for music, play, and design genre by selecting three specialized institutions. Participated by the Seoul National University R&DB Foundation, the ‘2016 KCP - Design : Idea Map Exploration’, will be provided as an advanced design education program in total of 80 sessions for ten weeks, for future arts-design education specialists and teaching artists.

2016 KCP - Design : Idea Map Exploration – ‘Reinterpretation on the Clock’ by Professor Chung-A Choi

Rethinking what’s familiar

How would design in everyday life function when combined with arts and culture education? On the third session of ‘Design Idea Map Exploration’, ‘Reinterpretation on the Clock’ by Prof. Chung-A Choi (Korea National University of Education), and ‘Playhouse made by Corrugated Paper’ by Prof. Jung-Min Choi (Seoul National University of Science and Technology) were covered. ‘Reinterpretation on the Clock’ is a program that requires thoughts on various situations related to time, and making a clock with a point of view different from existing time frames. From the past, the looks and meanings of a clock differed based on their environments and contexts. Natural change of how flowers bloom and wither, time of evolution representing humans’ life-cycle of birth to death, time of wear and extinction for an object to be created and used, are all different. Prof. Chung-A Choi introduced various examples of clocks and gave out an assignment to make a clock that fits individual’s needs and situations. Participants need to go through detailed processes that includes, setting concrete measurement units of time, planning on materials, and accurate steps and technology for making the clock. “Just by tracing the history of clocks, we can see how much design has affected the society and our ways of living. Let’s

question on things neglected easily in daily lives. What kind of design would there be to substitute current clocks? This ‘process’ of questioning what we take for granted and realizing those thoughts is important. Innovation is not led by technological change, but by such design-related thoughts.” – Professor Chung-A Choi, Korea National University of Education Due to an unexpected assignment, participants contemplated for a while, but soon starts to sketch and make models. New clocks that reflect solutions to daily life concerns were made, including ‘belly clock’ that measures and alarms the time for feeding the baby, ‘energy clock’ that measures charged bills for household water and electricity fees, a drawerlooking clock that reminds us to take a vitamin once a day, a clock that shows achievement status every time we finish a book, and so on. Looking at these outcomes, we realize that a clock exists originally for planning the future, but in turn can also be used to record and signify time spent in the past. All in distinct shapes, clocks made by participants were designs based on real-life personal experiences and life patterns.

2016 Design Idea Map Exploration – ‘Playhouse made with Corrugated Paper’ by Professor Jung-Min Choi

Leveling with users’ viewpoint ‘Playhouse made with Corrugated Paper’ is focused on designing a creative playing space, imagined from the users’ perspective. In order to construct the playhouse, participants must abide by the following several rules. First, imagine freely without confining space into a house or a playground. Second, focus on making a new spacial area instead of tilting towards decoration. Third, make a three-dimensional structure that can be transformed into various forms only by folding, nesting and decomposing, without using tapes. Lastly, set a concrete example of a child user and make it at the eye level of that child. “Architecture is usually designed from the viewpoint of adults, but we need to be brought down to the children’s (or the users’) level. For children, making a playhouse is one of their main objectives. Playhouses should be changed, since the tendencies of children exploring outdoor staircases and those who stay indoors and read books are certainly different.” – Professor Jung-Min Choi, Seoul National University of Science and Technology Participants gathered in groups and continued their discussion on the playhouse after setting up characters of the users. Drawn while discussing, rough sketches soon became a blueprint, and with imagination added while folding and nesting paper according to the design, a three-dimensional playhouse made out of paper box was completed. In order to understand the minds of users, participants went inside the playhouse during the process of construction. Pictures were taken from inside the playhouse, while considering how it feels to look outside from the inside, whether light comes in well or if anything else is needed.

Strengthening capacities and searching specialists How can such education program induce creativity and leadership from the participants and become their personal experiences, without being merely left as simple ideas? There is a distinctive feature of ‘Design Idea Map Exploration’, as an outstanding arts and culture education specialist training program, that differentiates itself from other training programs. KACES has been developing fruitful education programs that can inspire students’ creativity development and career searching, in addition to training potential specialists. Achievements were gained in programs including, “Arts and culture education training standard development research-design” in 2011, and “School arts and culture education teaching-learning methods <design> research” in 2014. Meanwhile, concerns on limitations of training programs also existed, since they were mostly managed during the vacation on an overnight or two nights and three days’ basis. In order to complement such limitation, the training period was expanded to 80 sessions, and ‘Design Idea Map Exploration’ was developed as a professional training program through cooperation in alignment with arts and culture education specialized institutions and organizations. Developed by five professors, centered with Prof. Eui-Chul Jung of Seoul National University, this program was designed for participants to understand basic concepts of design education and for them to apply flexibly depending on the subjects of education. On the objective of the training program, Prof. Chung-A Choi answered that it is ‘not for majoring but for an education of base expansion’. Through an education process consisted of steps including ‘perception-observation-conceptionexpression-integration’, participants learn new knowledge and skills every time, and play a leading role in reinforcing design education contents of their own. The core aim of this project is to grow differing perspectives and thinking skills to see familiarities as unfamiliar, and to cross the frontiers of various fields to build better problem-solving capacities. What kind of map of idea would be on participants’ minds as they are taking steps forward? We hope they can bloom the flowers of arts and culture education upon the maps they drew. (Participants’ Playhouse made with Corrugated Paper)

ArtE Academy, AA The Education Planning & Programming Team of KACES runs a professional education program in order to foster creative leaders and talents in the arts and culture education field. It provides training programs that can enhance cultural capacities and expertise for core intermediaries of arts and culture education. This includes teaching artists teaching at schools and welfare facilities, and arts and culture education planners, based on various themes and steps. In addition, for expansion of sympathizing with cultural values, many field-based training programs are developed and operated, which targets for public officials in each government departments and schoolteachers.

KACES 2016 10 Program Years

Arts and culture education as artists’ social-participatory activity Paul Hamlyn Foundation, artists’ capacity development project in England Eun-Kyoung Lee _ Educational Operations TeamⅠ

The Third International Teaching Artist Conference, ITAC3 was held last August 3 (Wed) to 5 (Fri) in Scotland Edinburg, England. Co-hosted by the Creative Scotland and Paul Hamlyn Foundation in cooperation with ArtWorks Alliance, ITAC3 this year was meaningful in that it proposed England’s more expansive view on arts and culture education. It far enlarged the scope of arts and culture education, compared to how it was dealt with in 2012 Oslo, Norway and 2014 Brisbane, Australia. This year’s conference was a chance for sharing diverse cases and perspectives on the arts education field through roundtables, seminars, and workshops. With the theme, ‘Best, next and radical practice in participatory’, approximately 220 participants from around the world attended the conference including, teaching artists, arts and culture educationrelated institution personnel, and related researchers. In particular, emphasized through the keynote speech ‘Co-producing and Collaborating with Community’, and panel sessions of ‘Value of Cooperative Practice in supporting Artists’ and ‘Lessons from Innovative Approach on Social-Participatory Art Creation’, it was an opportunity to have deeper discussions on the British approach and interpretation on arts and culture education that deals with the education sector as one of artists’ social-participatory activities. Especially, the co-host of this conference, Paul Hamlyn Foundation, is concentrating its efforts to strengthen artists’ capacities by proceeding various arts and culture education research projects, centrally on England. Meeting with Susanne Burns, the Paul Hamlyn Foundation Senior Arts Leader who currently works as a consultant of artists and as a researcher, we heard on British arts and culture education, perceptions on teaching artists, and future plans on the activities of Paul Hamlyn Foundation.

Paul Hamlyn Foundation supporting artists’ diverse social-participatory activities

British teaching artists = Freelancer artists working in diverse environments

Paul Hamlyn Foundation is one of the representative private foundation in England that practices various art support, since its foundation in 1987 by a German immigrant, Paul Hamlyn. Many projects are managed and supported mainly for teenagers or the socially disadvantaged with about 100 partner artists, in order to enrich their lives as well as their local communities through art. Susanne Burns introduced that “Paul Hamlyn Foundation supports field art activities in places such as schools, hospitals and prisons. Especially since 2011, it concentrates on developing programs and on designing artist training methods for fostering specialists, in cooperation with ArtWorks”. She emphasized that artist training and program development is essential for artists to expand their scope of art works to practice social-participatory activities with diverse participants, using art.

The most interesting part of this conference, including the Susanne Burns interview, was the British society’s perception on teaching artists and on arts and culture education. Suzanne explained, “in England, a teaching artist is ‘a freelancer artist working in diverse environments’”, and mentioned that they freelance sometimes at schools, sometimes in hospitals or local communities. Especially in terms of the role of arts (or teaching artists) and education (or teachers), Susanne emphasized that “with different specialties for teachers with educational and artists with artistic capacities, they cooperate to complete a single project together. It would be best if teaching artists can fulfil both artistic and educational capacities, but the key to teaching artists lies in their ‘art’.” In addition, she added that “since there is a clear difference between the capacities and roles of teachers and artists, they are usually called as ‘Participatory Artists’, unlike how they are called as ‘Teaching Artists’ in Korea or the United States. It was remarkable to witness how the British interpretation of teaching artists focused on their ‘art capacities’, suggesting part of their role as ‘social-participatory’, and exemplifying ‘learning’ as one of those socialparticipatory activities. Susanne pointed out ‘motivation’, ‘passion’, ‘philanthropy’, and ‘communication skills’ as main values that teaching artists should pursue. On the contrary, she also expressed anxiety towards the ‘artist survey’ results. “There are around 50,000 artists in England, and has been surveyed that 78% of respondents have an annual income of less than ₤12,000. Artists hold second jobs to earn living expenses and suffer extreme economic and emotional hardships.” Moreover, she highlights that although artistic capacities are important for arts and culture education activities, it is something possible only when there is clear self-motivation and passion. Likewise, she spared her time to discuss on future arts and culture education policies and directions.

Soo-Yeon Lim

Mini Interview Sun-Mi Kang, Soo-Yeon Lim - Teaching artists who participated in the Third International Teaching Artist Conference

Sun-Mi Kang

In this year’s International Teaching Artist Conference, KACES prepared an opportunity to share the current status and achievements of Korean arts and culture education. The presentation was to introduce representative international exchange activities that have been continued along with the growth of Korean arts and culture education. Programs were presented including, ‘Very Young Composers’, a localized foreign cooperative program by Kumdarak Saturday Cultural School-New York Philharmonic, and ‘Arts and Culture Education ODA’, a project that brings domestic know-how, manpower and contents abroad. Presentation was made directly from teaching artists, Sun-Mi Kang and SooYeon Kim, who participated as training instructors.

Please briefly introduce what was presented in the Simultaneous Session of this International Teaching Artist Conference. Sun-Mi Kang Introduction was made on the overall ‘Arts and Culture Education ODA’ project that started since 2013, and on the intermediary education program that I ran in 2015. It was a program that connected improvisation and creation through the process of understanding dots, lines, and faces by staring with sensual exercises at villages and other places with the theme of ‘Moving Buildings’. The presentation was made based on expressing the impressions on Lao Cai seen from one’s surroundings, finding points for connection with one’s body, and again connecting them to buildings to make stories and to complete the piece. Soo-Yeon Lim ‘Very Young Composers’ of the New York Philharmonic is a program that was initially designed based on the American culture. Thus, we introduced the program’s transformation process since its adoption in 2013, on taking our culture and environment into the program through workshops. In addition, children who participated in the program presented on how they wrote songs, on the meanings of ‘Very Young Composers’, and on the program’s value. According to a staff of England Barbican Center and American Lincoln Center, which interacts with the New York Philharmonic, he presentation was very helpful in understanding how the ‘Very Young Composers’ program was able to be applied and settled in Korea.

Please mention any impressive program or presentation. Sun-Mi Kang Overseas arts and culture education programs did not seem so different from ours. The most memorable presentation was, in our standards, rather closer to community art project than arts and culture education. For example, a bed with wheels is placed in the middle of the city, and an old lady is knitting on the bed. Passersby say hello to the old lady, or shows curiosity towards why she is there. Arts education was regarded as the starting point or action that makes chances for the conversation. It was the moment when my stereotype of arts and culture education fell apart. I discovered differences in methodology and approach. Contrary to how we first start with making the program, it was impressive how they approached cultural arts from everyday life. Soo-Yeon Lim Freedom of expression was noticeable. Participating in a simultaneous session named ‘Aesthetics of Transformative Integration’, I was impressed by how natural it was to tell one’s story using pictures and words. I thought of forming such natural and comfortable atmosphere in my class as well.

What have you felt by participating in this International Teaching Artist Conference? Sun-Mi Kang My life motto is to ‘enjoy’. If you enjoy, it’s less strenuous and less regretful even when things do not turn out as planned. It takes efforts to entertain the time spent with children. My thoughts have become even more solid with this experience. Soo-Yeon Lim I had the impression that freedom of expression must be given to children. I felt like I have been trapped inside the boundary of education. Through the International Teaching Artist Conference, I met many teaching artists and acknowledged that I was very unrelaxed. It’s necessary to enjoy.

2016 People

My thoughts? I express them through music. Tae-Hyun Won, Very Young Composers / Su-Jung So, Instructor Hyun-Min Song _ Music Critic

2016 People and KACES This year in the field of Korean arts and culture education, there were many people who actively participated with their own educational philosophies and passion. Through interviews, live stories on the values and power of arts and culture education are heard. Tae-Hyun was a bright and energetic first-year middle school student of Shinpyeong Middle School in Hanam, Gyeonggi Province. No trace of Mozart’s lunacy or Beethoven’s agony were seen in him, who ‘composed’ two pieces of songs. Some pranksome looks were on his face, fit for his age. Tae-Hyun met the KACES ‘Very Young Composers’ program when he was in his sixth grade of elementary school. Through this program, he wrote two songs, <The Clock> and <The Future of Space>. On June 4, he presented <The Future of Space> on a live performance aired in Korea and New York (11 a.m. American time, midnight Korean time). The performance was to celebrate the twentieth anniversary of New York Philharmonic Very Young Composers at the NATIONAL SAWDUST located in New York. It was a stage with the theme of ‘How would the future look like?’, where seven songs were played, written by ‘Very Young Composers’ from countries including, Korea, the United States, Finland, and Venezuela. In Korean age, students ranged from third to sixth grade in elementary school.

“Everyone was superb. It seemed like they were clearly delivering their messages through music. I envied others’ songs, and felt a little embarrassed after when my song was played. We introduced our pieces one by one, and I made a lot of mistakes in making the speech. (laughter) Still, it felt great after the presentation.” (Tae-Hyun Won)

(From the left, Tae-Hyun Won, Soo-Jung So)

A Very Young Composer, distant from music Tae-Hyun sounds like a ‘genius composer’ who suddenly rose out of nowhere. In fact, composing requires a lot of studying unlike other instrumental or vocal music. You must know how to handle instruments and should have sensitive hearings to take in music properly. Although art is done with heart, it is sometimes treated as ‘done with the head’, due to the need for memorizing countless composition methods in order to apply them during composition. This may be the reason why genius composers such as Mozart or Beethoven had uncommon facial expressions in their portraits. Nevertheless, Tae-Hyun has never studied composition. Rather, music was a distant area for him before he met the Very Young Composers program.

“It was the first time I learned how to play the piano, which I am still learning. Oh! And I also learned drumming for a short period of time.” (Tae-Hyun Won) He was not related that much with ‘serious music studies’ from what can be seen from his answer to the question “your mother dragged you to the piano academy, right?”, as being “Oh! How did you know?”. Neither of his parents majored in music. Though, for emotional education, his older brother learned how to play clarinet and his younger brother violin, just as hobbies. Anyhow, Tae-Hyun’s piano teacher recommended him with the Very Young Composers program. The ‘Very Young Composers’ is an education program of the New York Philharmonic, which puts the future of music in the children’s hands. KACES has adopted the ‘Very Young Composers’ program targeting third to sixth grade elementary school students, based on a partnership with the New York Philharmonic. The objective of Kumdarak Saturday Cultural School, which successfully settled in after its first introduction in 2013, is not on ‘production of work’ or ‘talent hunt ‘.

“It is a program that children enjoy music like a game, and make their own stories using them without being bounded by regulations or stereotypical rules.” (Soo-Jung So) Instructor Soo-Jung So met Tae-Hyun through this program. Although Tae-Hyun was bright throughout the interview, her first impression on him was quite different.

“His first impression was very dark. When students gathered, Tae-Hyun sat in the corner. Maybe it was because there were no friends of his age and too many third-grade younger students. Anyhow, he was unfamiliar with expressing himself and was very shy of strangers.” (Soo-Jung So)

Telling stories of everyday life through music Teaching methods of Very Young Composers is quite distinctive. It proceeds in the order of getting familiar with rhythm, pitch, instrument interview (experiencing instruments), and composition. When the class begins, the instructor and students make a promise to respect all opinions and thoughts proposed in the program. While proceeding, the instructor does not require any type of formality or rules needed for composition. Whatever story is put in to the ‘basin’ of music, or however funny the wings of imagination look like, they are all accepted. Also, instruments used for the piece, tune, and the rhythm are selected solely by the students. During that process, it is the role of instructors to draw imagination from the children. When taking imagination onto music sheets with notes, the instructor sometimes becomes their helper. Tae-Hyun completed <The Clock> through such process. It uses violin, viola, cello, flute, clarinet, and percussions. These instruments were chosen by Tae-Hyun, after familiarizing himself with the instruments through the ‘instrument interview’.

“My favorite and most memorable instrument is cello. Its low sound was pleasant and it is also the biggest instrument. I was watching the clock without thinking, which led me to compose <The Clock>. Whenever I saw the clock, I thought it was just like my life. Time flies when I do something enjoyable, and contrastively, time goes slow when I do something I dislike or something difficult. Such thoughts were put into the song.” (Tae-Hyun Won) “Tae-Hyun asks questions as he composes. ‘Ms. So, should I slow this part down?’. When something changes in that way, I ask again. ‘Should we try putting in other instruments?’. The conversation goes on like this. When students are asked to pick a theme, they usually think of imaginary ones, but I was surprised when Tae-Hyun chose something from his daily life, unlike other students.” (Soo-Jung So) <The Clock> was performed at a local result presentation in January 2014, at the Arang Hall of Hanam Arts Center. The looks of how the hands of hour, minute, second moved separately, was depicted in a humorous way. But when TaeHyun wrote <The Future of Space>, he confronted difficulties. Whereas <The Clock> was a topic found in everyday life, <The Future of Space> was based on a common theme ‘The Future’, given by the New York Philharmonic to Very Young Composers of all countries. There was a slight amount of restriction, and Tae-Hyun struggled a bit. However, instructor Soo-Jung So, who helped him to complete <The Clock>, encouraged Tae-Hyun and stirred up his imagination by being his helper once again.

“It was strenuous. So on the first day of class, I just enjoyed having fun with Ms. So. On the next class, she gave us a piece of paper with a circle and the keyword ‘The Future’ inside it. (Through the mind map class) I talked about a lot of things with Ms. So on this subject. For example, ‘the past of the space would have been peaceful’ or that ‘the future of the space would be noisy with machines running’. We sat in front of the piano together and tapped on the keys to make the rhythm. Once in a while, we decided to use random notes determined by the ladder rider game.”(Tae-Hyun Won) During the process, sounds representing peace were drawn in curves, and sounds that represent sharpness were drawn in zigzags. Instructor Soo-Jung So helped drawing Tae-Hyun’s imagination into notes.

Change in life brought from music After completing <The Future of Space>, Tae-Hyun became to have wider thoughts and spectrum on music. Maturation through music, it’s not just what this ‘very young child’ has achieved by participating in the program. Having been together with the Very Young Composers program since its introduction, instructor Soo-Jung So says she also learns a great deal of lessons.

Tae-Hyun Won composing in the Very Young Composers program

Tae-Hyun Won collaborating with the New York Philharmonic on <The Future of Space> at the 2016 New York Philharmonic VYC Concert

“If you ask which song was more impressive, I would choose <The Future of Space>. Players seemed to have difficulties with <The Clock>. Of course, <The Future of Space> is also hard to play, but <The Clock> required one percussionist to play multiple percussions in turns. Thus, when making <The Future of Space>, these things were taken more into consideration. Maybe it was the reason why <The Future of Space> was able to be performed more smoothly.” (Tae-Hyun Won) “I get to think that children’s world is bigger than I thought. Sometimes, children’s imaginations and thoughts are so big that they are burdensome to embrace. Whenever I confront such situation, I feel like ‘thinking inside a box’. I also feel that better outcomes are driven when adults do not put limitations on them. I hope more programs are made for the children to freely talk like this.” (Soo-Jung So)

Tae-Hyun, who like to build buildings with computer games and sculpturing, dreams of becoming an architect. But then, after participating in the Very Young Composers, he now has a problem in shaping his future. He blurs his speech by saying “I will try music for the time being and…….”. However, it was not a shortening out from lack of confidence. It was a face of a young boy with pleasant concerns with wider choices laid before him. In far future, would this boy become a composer or an architect?

Tae-Hyun Won is currently in the first grade of Shinpyeong Middle School. He composed his first piece, <The Clock>, when he joined the Kumdarak Saturday Cultural School ‘Very Young Composers’ program with the recommendation of his parents during his sixth grade of elementary school. This year, he wrote <The Future of Space> for the twentieth anniversary performance of the New York Philharmonic, and this song was performed in the ‘2016 New York Philharmonic VYC Concert’ on June 4, at the New York NATIONAL SAWDUST of the United States, as a piece played by the New York Philharmonic members. Soo-Jung So completed her Master’s course in College of Music, Sungshin Women’s University. From 2013, she is actively taking part in the Kumdarak Saturday Cultural School Very Young Composers as a music instructor. She was selected as a young composer in the 2013 Pan Music Festival, and participated in the short film <The Weight of Love> as a music director. She also carries out composition activities along with arts and culture education.

2016 People

Children grow while ‘romping’ around with tradition Director Hye-Jin Yoon, Main Instructor of the Jeongdong Theater Kumdarak Saturday Cultural School Eun-Ji hong _ Performing Arts Director ‘Kumdarak Saturday Cultural School’ has been continuing outside of school arts and culture education programs since 2012, on every Saturdays with the introduction of ‘five-schooldays per week’. It targets children, teenagers and their families with cooperation of public agencies that sympathize with its purpose. <Thumping Drums with our Games and Stories> that took place earlier this year at the Jeongdong Theater was one of those programs. 23 elementary school students participated, and the outcome was performed on theater stage in August. <Thumping Drums> is an integrated arts and culture trial program that makes children to feely experience various traditional culture including our folk games, songs, stories, and folktales. The program continues until it can be gathered into one performance and put on stage. Reactions of participants were extremely good throughout the program, and the responses after the performance were also enthusiastic. In September, about one month after the performance, we met Hye-Jin Yoon and talked about the whole process, who directed the program as a main instructor.

You are currently carrying out creative activities in the field as a director. We would like to know about how you started arts education. Last year we conducted a project through an independent publishing company named ‘Zaknbooks’ that aimed for winwin effects uk Art Creativity Center that conducts ‘art therapy’ with local community residents as its main project. This served as a momentum. While making a program that fits our team, we tried on play-writing for random people. Since we were not arts education specialists, we questioned on what people would need for writing a play or how we could make it more interesting for them. We attempted on designing the play by relying on our past experiences. Writing a play is not like learning how to write well through studying, but was more like participants writing out their own stories in monologue and making them into scenes. Experiencing how plays are made in practice, we connected activities of selecting a theme, writing stories, and changing it into a play through a reciting performance. We learned even more as we met local residents.

Until last month, you carried out <Thumping Drums> of Kumdarak Saturday Cultural School at the Jeongdong Theater. How did you get to participate? Last year I participated in the Literature Concert Program that reaches out to the public. As an extension of that experience, I was offered with the Jeongdong Theater program. We started the program with the common interest of how to deliver the keyword ‘tradition’, which the Jeongdong Theater puts its foundation on. Since it was aimed for children, we thought of how to make children experience such tradition in an easy yet in a fun way. We kept two things in mind; one on that we wish children could romp around, and two on that it would be nice for them to experience performing at the Jeongdong Theater based on their tradition experiences. So keywords of ‘Romp (romp around)’ and ‘Tradition’ were selected, along with relatively easier experiences such as folk games, songs, and tales, rather than difficult and hard traditions. Afterwards, we put focus on choosing a story, and suiting songs and games to make the story into a musical play performance.

house’, or ‘we have rice-cake soup on new year’s holiday’ were mentioned. Starting from what we can find in daily life, we approached tradition in an easier way. Also, before the start of the program, instructors studied and shared games that fit the level for the children. We visited the TYA Research Centre at National Theater Company of Korea for consultation, and there we received helpful advices such as ‘teachers should put themselves in the children’s shoes’, or ‘teachers must try out playing the game beforehand of class’. In practice, instructors tried hopscotch and rubber band game, and found that the games in their memories were quite different when actually played. During the first two weeks, we mainly played games that helped children to get closer to each other. In order for the children to enjoy traditional games in a familiar format, we prepared stamp sheets for stamping every time they played folk games including fivestones, shuttlecock game, and long jump ropes. However, it was a pity to watch them having difficulties playing around because they did not know how to play those games. Nevertheless, as sessions went by, children romped around more lively looking forward to the next session, and asked the question ‘when do we romp?’ (although the entire process itself was ‘romping’), even while practicing for the performance.

We would like to know on the overall process of how folk games were led to a performance.

Kumdarak Saturday Cultural School <Thumping Drums> Performance

We wonder how you approached folk games that were unfamiliar to the children. On the first week, we took time to understand and to discuss on what ‘tradition’ is. Remarks such as we ‘eat rice’, ‘we take our shoes off before going inside the

The first and second session was ‘communicating’, letting the children to romp around the practice room as much as they want for getting closer to each other. In the middle stage, they made short scenes with games and songs based on the story, and learned music and dancing. Later, the course ended with putting up a performance and sharing thoughts from the children. In every class, thirty minutes were spent on playing and the other thirty on learning songs. The rest of the time was put on making a play. In particular, children were made to listen to folk tales from families and to pass it on to friends, without reading them out from a book. Then they share stories, pick their favorite and made scenes with games and songs they are familiar with. Afterwards, the short scenes that lasts three to four minutes with different stories were shared through group presentations. Children were induced to talk on their own stories, and the groups were determined around mid-range of the program. Favored stories were selected and lines were covered within the groups. So scenes were made first and then scripts written afterwards.

Were there any difficulties in making the process of â&#x20AC;&#x2DC;Rompingâ&#x20AC;&#x2122; into a single performance? In the end, it was an omnibus format consisted of three stories from three teams. The children chose <The Tiger and Red Bean Porridge Grandma>, <Byeoljubujeon>, and <Onggojipjjeon>, but there was no difficulty in making the scenes, since everyone was so familiar with the stories. Though, sometimes the practice did not go well due to children wanting to play around. (Laughter) At those times, the children in the upper grades led the mood, and when the performance was approaching, they started to concentrate since they had to stand on stage. It seemed to be helpful that they physically experienced how to perform a play from the beginning. Since the last performance was put on stage with all the stage sets for the current performance was left as it was at the Jeongdong Theater, only simple props were used without stage devices. The children played well more than expected on the stage, by expressing with active movements and changing lyrics of the songs they have learned. I was worried that the theater space could be dangerous to the children, but they understood and followed the whole process very well.

<Thumping Drums> received positive responses from everyone including participants and the project manager. What do you think was its merit? The staff did not plan and prepare everything from the beginning. We had time to find out about the children while they spent two weeks in the earlier part of the program, during the time they spent getting closer to one other. We did not frame it from the start, but operated it flexibly in order to shape the program according to the characteristics of the children as we went. The biggest

reason why Kumdarak Saturday Cultural School felt good was probably because instructors enjoyed closely together with the children. Instructors, including myself, tried to embrace the children on a one-on-one basis with lots of affection. After identifying the tendency of the children, instructors shared their discoveries at the end and referenced them for the next session.

What points do you think are important for a director approaching the arts education program? I tried to provide an opportunity for the children to enjoy art more closely, and to exclude parts that should be learned or skilled, as much as possible. Children were not specially trained for the performance; I only induced those who already played drums very well with former experience, so that the child can play naturally inside the role of the play. In the middle of the program, there were sessions for learning how to dance, how to perform Ganggangsullae, and how to play Janggu, but those were not the main purpose. Although there were some parents who felt pity on this part, I tried hard to listen to the children and to do what they wanted to do throughout the program. Children seem to have changed little by little by being asked "What do you think?", or "How about you making this scene?", rather than being told what to do and what not to do. After sessions, I hoped that the children would go back to school or home and continue to play such games rather than watching TV or doing computer games. I wanted them to continue the playing activities in their daily lives, in more expansion of playing just during the program. I wished them to have more opportunities to hear stories from their parents directly, and not just parents buying books for the children. I tried to deliver such thoughts.

Jeongdong Theater Kumdarak Saturday Cultural School

I wonder if there were impressive events or memorable difficulties during arts education. There are some children who voluntarily came to seek for fun but there are also friends who came because of their parents since the program is free of charge. In those cases, the level of participation is different. Friends who came involuntarily, had to endure this time without enjoying it. In the earlier part of the program, some children said they would come to Kumdarak Saturday Cultural School, but want to drop out from the performance. In addition, there were also children who had difficulties in terms of physical affection or cooperation, such as being in conflict with aggressive attitude when bumping into each other while playing games, or refusing to hold hands between boys and girls. There were also kids who refused to participate in sessions that required repeated body movements for learning. Such children gradually changed as they ‘romped’ around. It was impressive to see the change of children as they played hide-and-seek or “what time is it, Mr. Fox game” altogether. Even the those who showed difficulties in the beginning also started to participate, and at the end, everyone had a very enjoyable performance.

What can be the point of difference between creative activities and performance within the curriculum? When doing creative activities, more attention is given to the phenomena and actions that take place in between the performer and the audience, than on the intended messages. I try to work with open texts as much as

possible, to enable the audience to expand their thoughts. It seems like I approached arts education with similar thoughts as when doing relational aesthetic works. In arts education, temporal changes in participants are witnessed for every moment. We are moved by approaching the true liveliness in life as we continue to ask questions and answer them, sometimes confront unexpected situations, or encounter theatrical moments more dramatic than a real play. This is the first time I've been teaching children, but the process of feeling new senses by avoiding previous learning or training methods was very moving. After the program, I felt myself more developed and rewarding as well.

Remarks you would like to share with those who aim to participate in arts and culture education. Interaction is important for art. For interaction, there should be mutual relations rather than a one-sided approach. Nevertheless, it’s hard to say ‘for sure’ on the method of interaction, since it changes depending on the interacting partner, and on the situation. But we should continuously adjust with others through sufficient observation of the circumstances. If those who we must adjust are children, it would be better to ask more questions and listen to their thoughts as we play together in order to get fruitful outcomes, rather than giving away direct answers. We believe that art essentially lies on playing. If approached with playing, and not from stereotyped learning in arts education, art can be enjoyed. We hope we can have more opportunities of this type of arts education.

Hye-Jin Yoon Currently is a director of the theater company, Geukdan. Her works include <With Nothing>(2016), <Sunrise>(2015), <Song of Bones>(2015), <One Summer Day>(2013) and many more. She was selected as the 2013 ARKO Next-Generation Director, 2014 New Art Trend (NArT) Support Project, and 2015 Performing Arts Startup-Daehangno EcoArt Project. She dreams of a stage that feels like a piece of poem and a late afternoon’s sunlight coming through the window. Jeongdong Theater Opened in 1995 succeeding modern and contemporary artistic inspirations, Jeongdong Theater features Korea’s representative traditional art, with historical significance of being the restored ‘Wongaksa’. With missions of popularization, globalization, and upgrading the prestige of Korean traditional performance arts, it initiated a year-round show named [Traditional Art Performance] that staged Korean classics.

-KACES e-Newsletter Volume.6Published 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-C006