Kaces newsletter vol8 by artE

DECEMBER 2017

Vol.

contents A Lookback on KACES 2017 KACES Focus

4 12

Arts and Culture Education in the Era of the Fourth Industrial Revolution Community Culture and Regional Culture, and Arts and Culture Education

KACES Report

The Effects on Families and the Local Community Beyond Individual Change - Study on Changes in Children of 'Orchestra of Dream' on 2016

Arts and Culture Education Learned and Experienced in Schools - Survey on 2014~2016 school arts and culture education

KACES Program

Bus Adventure with Songs filled with Innocence of Childhood

Let’s Do It Altogether

Arts is a Right that Society Members Should Enjoy Equally and Democratically

- 2017 Mobile Arts Station Arts Bus <Zombie Busters Mediaband>

- 2017 Cultural Police Substation in Jeju

- 2017 ArtE Academy’s International Arts Education Training Program with ‘TAT Lab’

KACES News Inauguration of the 5th President of Korea Arts & Culture Education Service KACES A.Library Open to the Public

The Father of Teaching Artists, ‘Eric Booth’ Visit to Korea 2017 Korea-U.K. Conference: <Creative Ageing> KACES Programs Related to the PyeongChang Cultural Olympiad

Kaces Message

Greetings! In 2017, there were many issues and concerns in the field of arts and culture education than ever before. With the era of the Fourth Industrial Revolution, we are in the process of discussing this issue at various levels of the society. Also, with the change of government, the overall directions in the field of arts and culture education has shifted. With the inauguration of a new president, KACES is also preparing for better policy making in arts and culture education. First of all, in the <KACES Focus> section, articles that reflect various domestic issues heading towards a new change are included. With the advent of the Fourth Industrial Revolution era and entailing changes, roundtable discussions were held with experts concerning on what the changes may be, and on the role of arts and culture education within such changes. In addition, as the new government emphasizes decentralization and community culture, related specialists were asked on the regional arts and culture education cases and desirable directions with the theme of ‘an era of community culture enjoyed in local areas and in everyday life’. In addition, this issue introduces the results of researches conducted by KACES through <KACES Report>. Here, we share the research results on the changes of children participants in the ‘Orchestra of Dream’ project, and the survey results on school arts and culture education conducted for three years from 2014. In the <KACES Program> section, KACES introduces programs meeting local residents and mediators with arts and culture education at the living zone unit. Here, we look into the field of ‘Mobile Arts Station’, a moveable arts and culture education project, where short yet interesting arts and culture education programs are conducted by arts and culture education on buses, trucks, and hospital ships visiting children and the elderly of culturally marginalized areas. We also meet the planners of ‘Cultural Police Substation’, which helps more people within the local community to enjoy arts and culture education using the unused Community Security Centers. Also included are interviews with four faculties of the Washington State Teaching Artist Training(TAT) Lab, who are working hard for the arts and culture education enjoyed by all students of ArtE Academy. Finally, in the <KACES News> section, inaugural news on the 5th President Hyun Mee Yang of KACES will be contained, along with main KACES news related to the 2018 PyeongChang Cultural Olympiad, and other news including the Korean-U.K. Conference 'Creative Ageing' with the British Council, and invited Korea international arts education workshop with overseas expert, Eric Booth. In 2017, KACES was able to actively communicate and share issues of the international society with all parties concerned with arts and culture education both home and abroad, and exchanged perspectives and examples that are applicable to the Korean arts and culture education. Looking forward to your continued interest toward KACES and Korean arts and culture education, we will deliver more fruitful and lively news also in 2018.

Thank you. The KACES Public Relations Team

Kaces Focus

Arts and Culture Education in the Era of the Fourth Industrial Revolution Discussing Arts and Culture Education in the New Era

The era of Fourth Industrial Revolution has arrived. Beginning with Industry 4.0 of Germany, we have reached the stage where artificial intelligence can even create artworks with 'Deep Learning'. In such rapidly shifting technology-centered era, the lives of education participants will also undergo sudden change in the future beyond our imagination, regardless of our wills. Amongst the process of change in characteristics of education participants, will the traditional offline-based arts and culture education methods based on firm face-to-face nature, still be effective? What are the core competencies needed for teaching artists who engage with such education participants? What arts and culture education contents correspond to the era of the Fourth Industrial Revolution? Moreover, attempts will be made on addressing human identity and ethical awareness

Roundtable Discussion with Experts Title l â&#x20AC;&#x152; Changes and Objectives of Arts and Culture Education in the Era of the Fourth Industrial Revolution Date & Time l May 12, 2017 (Fri), 2 p.m. Venue l Choi Ina Books Participants l â&#x20AC;&#x152; Chang Hwan Kim (Senior Research Fellow, Office of Survey and Data Analysis, Korean Educational Development Institute), Yu Shin Park (Teacher, Seoul Seokgwan Elementary School), Ji Sun Lee (Professor, Department of Visual & Media Design, Sookmyung Women's University), Hak Soon Yim (Professor, Media Technology & Media Contents Department, The Catholic University of Korea), Jong Eun Chung (Associate Research Fellow, Arts Policy Research Division, Korea Culture and Tourism Institute)

4 The era of the Fourth Industrial Revolution, what should be our concerns? Concerns from human identity to ethical awareness Chang Hwan Kim

Although the initial start was from Germany with 'Industry 4.0', Korea seems to be the country with the greatest interest as its national agenda. Although Korea has been preparing for the Fourth Industrial Revolution from 2012, social consensus on the Fourth Industrial Revolution has yet to be made. Thus, before going into today’s talks, we should first discuss on what the Fourth Industrial Revolution is. According to the research report by the Ministry of Science and ICT and Future Planning, IoT (Internet of Things) is of paramount importance. Data accumulates, as home appliances such as the refrigerator or TV are connected to the Internet. The IoT collects data and sends it to the cloud system instead of a personal computer. On this basis big data is created, which is analyzed by the AI (artificial intelligence). 3D printing, self-driving cars, smart factories, and home networks are operated through such big data. The Fourth Industrial Revolution is sure to have a tremendous impact on us all. In particular, it will have a greater influence on the children and the youth than on adults, since they are the targets of arts and culture education. Children are near to being ‘smartphone slaves‘. They may already be using arts and culture education applications that we may never could imagine of. We must first pose the question of identity, above all things. Giving answers to questions of ‘What are human beings?’, ‘What is arts?’ are what leads us to directions that we must head towards.

Yu Shin Park

I am currently working on a three-year project titled ‘Future Education in the Post-Human Era’. There are difficulties in terms of research, since there is no clear definition on what humans are and what arts is in the era of the Fourth Industrial Revolution. The educational issues in relation to the Fourth Industrial Revolution are mostly on the 'job competence' such as 'human labor' or ‘roles of human'. The modern education system itself has, in one aspect, made humans into ‘laboring beings'. It is a time when the role of arts and culture education is becoming more important, as the fundamentals are showing signs of faltering. As the process of exploring the definition of arts is meaningful, there is a need for philosophical, humanistic, and artistic reflections on the characterization of humans, the meaning of culture, and the role of arts.

Kaces Focus

Jong Eun Chung

Two perspectives collide ‘strongly’ in terms of the Fourth Industrial Revolution. One aspect is on ‘the need for focusing on the uniqueness of humans’, and the other is on ‘the need for utilizing technology with the disappearing human uniqueness’. Concerns on this issue are gradually being made on respective fields. Also in arts and culture education, concerns on human philosophy and vision are required, as well as the need for asking ourselves on what should be disposed of and what should be improved. The subjects of modern education can no longer function, thus now is the time to decide on the 'new subjects'. Arts and culture education should also target such 'new subjects'. With the evolution of the AI from day to day, programs are being made such as *kulitta, a self-music composing program. AI is also penetrating into the realm of novel writing. A science fiction novel written by AI, which learned on 1,000 novels of Shinichi Hoshi, passed the first review process of the Nikkei Hoshi Shinichi Literary Award. This certainly is a striking development. *kulitta: An AI music composition program developed by the Yale University, USA

In addition, it is a time when the government's position on the AI technology is crucial. With China developing rapidly, Japan specialized in the robot field, development of the United States in the big data field, and Germany in the manufacturing sector, it is important for Korea to swiftly organize its philosophy and vision in a larger frame. It is in this context that thoughts on the previously mentioned ‘new subjects’ should be made. We must find out what ‘things’ refer to, within the statement of ‘humans do things, therefore they exist’. This is because it is what defines 'human identity' in the future society. Human beings no longer seem to be existences based on knowledge or reason. Knowledge must be defined in different ways, and humans should be the subject of understanding and utilizing such knowledge gained. It can be seen as a new challenge for the mankind.

Ji Sun Lee

Data on things that people can do accumulates through the IoT, and thus AI develops as opportunities are made for machines to learn through big data created through such process. Then, there are more parts that machines can do and more things that humans can do as well. Under such circumstances, it is no longer simply important to do well technically. Instead, arts should develop into a direction where it is possible to experience what machines cannot do. Human beings should be able to use AI in order to express what they want. For example, 'iTunes' provides a music system called, 'Genius' where AI algorithms are applied. It helps people to choose music from countless amounts of data. With AI, people can now share their sensibilities upon their will. Whereas discussions on the Fourth Industrial Revolution are centered on technical issues domestically in Korea, discussions overseas focus on philosophical issues. The center needs to be shifted to philosophical discussions in Korea as well. Humans will constantly express what they desire, and the role of arts and culture education will increasingly become greater. Here, I wonder how education that lowers field boundaries would turn out to be.

Chang Hwan Kim

It is now the time to answer the question of 'what is education?' The concept of education itself is changing, and the important thing is to develop 'cultural capacities' rather than the skills. Discussions do not progress when we start the talks by going into quality of education. Our consciousness will need time in adapting to accommodate a new concept. It is our ‘perspective’ towards arts and culture education that is crucial. Rather than taking a defeatist viewpoint of 'trying things that AI cannot do' or 'doing things that it would not’, creating new values using AI and suggesting new pathways are true means to surpassing the AI. To this end, raising people who create new values in the arts, education, and social fields should be taken as the merits of arts and culture education. Therefore, a higher level of discussions beyond the creativity and healing function of arts and culture education are needed. Educators need to consider on ensuring that the education participants can gain creative problem-solving abilities.

Yu Shin Park

Recalling the era of the Third Industrial Revolution, the biggest issues of schools in Korea at the time was to use cameras to shoot movies or produce computer animations, so that knowledge could be spread through the media. Beating such technological efforts, children nowadays are more skilled at than teachers in dealing with new things. However, such technical skill proficiency is not a crucial issue. The bigger problem is when the new generation of 'media literacy' does not fulfill citizenship or ethical awareness. Recently on Twitter, users got ‘upset’ with ‘siri’, the Apple iOS software, for its distinguishing between users’ chubby photos and skinny photos. It is that AI learned differential language. As such, machine learns and acquires what humans pour out. Children will be exposed to a lot of information on the cyberspace, which is why we must predict ethical problems that may occur. Accordingly, we must consider how to create an ethical society through arts and culture within such environment.

Kaces Focus

The relation between the Fourth Industrial Revolution and arts and culture education Prospects for change in the ecosystem of arts and culture education

Hak Soon Yim

Three items will be touched upon in the context of arts and culture education policies. The first is on the methods of approaching arts. There needs an answer to the question ‘what is the new meaning of arts in the era of the Fourth Industrial Revolution?’ The form and process of arts and the artistic creation system will change. Diverse arts forms will emerge within the relation between the virtual world and the real worlds. Also, various actors including data analysts and engineers in addition to artists will be participating in arts and culture. The second is the concern about the goal of arts and culture education. Convergence and collaboration must gradually be regarded as more significant, and education on how to understand human labor should be preceded. (Moreover, it should also play a role in solving social issues such as social integration and community formation, as well as functioning as a healing role in terms of human alienation issues (loss, loneliness, frustration, etc.) that may be aroused from mechanical development. The third is the concerns from the policy perspective. Currently in Korea, arts instructors are teaching students individually one by one. Here, vitalization of collaborative systems based on convergence among various experts is suggested. Likewise, in order to support such movement, new forms of educational contents such as developing textbooks, should be devised.

Ji Sun Lee

Education that focuses on teaching the technical parts is no longer considered to be meaningful. More than skills, the sense of purpose on why doing so is most important. Recently, I have concerns toward ‘how much autonomy to give to the children’ when educating them. Meanwhile, I witness how children make rules for themselves, which makes me think that teaching artists should be able to guide them as helpers. I think that teaching artists should be able to give guides as helpers. It will become more and more ineffective to produce and to disseminate education methods. Suggesting large directions and encouraging some freedom can be another way. Changes are also taking place in relation to the arts and culture education teaching methods and the capacities of teaching artists. Focus is on the process of creating creative exchanges of learning new things, deviating from the methodological concept of evaluating children. Only when educators with such educational methods are cultivated, children can form new perspectives on arts and culture.

Chang Hwan Kim

The Arts field part tends to be relatively weaker, when talking about 'STEAM education (meaning fusion education - Science, Technology, Engineering, Arts, Mathematics)’ in relation to new types of educational programs. Hopes are that arts and culture education could come a little more to the fore. In addition, rather than offline, I wonder how it would be to experience arts and culture education in the cyberspace, although there may be some worrisome aspects since it is an opposing concept to the education that meets intimately face-to-face.

Jong Eun Chung

Indeed, arts and culture educations are limited to the offline world, but it is infinitely expandable in the cyberspace. Even if you do not meet face-to-face, various contact can be made. With the recent change of government, many diverse transitions are taking place, such as the disappearance of the position of Senior Presidential Secretary for Education and Culture, and increase in Ministry autonomy. Thus, the circumstantial change is inevitable for arts and culture education, which is why there is a need for challenging approaches that are free from the manual. Contrary to the concept of school education that teaches the basic skills, arts and culture education enables 'solving ability, creativity, philosophical thinking' through concerns toward humanity by gaining experience in the form of 'learning by doing', which aligns with the approaches of the Fourth Industrial Revolution. In addition, whereas results and quantification were important to existing education, it is now an era where ‘process and experience’ are considered more important. It is a good time conduct various experiments in arts and culture education, in terms of its form, scope, and goal.

Kaces Focus

Goal-setting and countermeasures in the field of arts and culture education Establishing new values of arts and culture education Chang Hwan Kim

Since Korea itself is small in size, it is relatively difficult to create big data. If there are large populations like in the US or China, data collecting can be done through diverse attempts. However, since there are many legal regulations, possibilities of failure tends to be higher. Thus, there is a tendency to being passive toward new attempts.

Hak Soon Yim

In fact, the key lies on how to view the core capacities of arts instructors and teaching artists, in changing methods of arts and culture education. In the field of arts and culture education, the concept of convergence is still weak. Although genre integration is taking place within the field of arts and culture, converging with other genres are not yet realized. Therefore, it is difficult to become a true 'integration'.

Chang Hwan Kim

To add to the discussion on capacity building of teaching artists, what is more serious than the Fourth Industrial Revolution changing the world of occupations, is that the job itself is changing. On this account, although retraining is necessary in many areas, experts who are capable of providing education are far too busy, or adequate personnel and institutions are difficult to find. Thus, the expectations are given on KACES (Korea Arts & Culture Education Service) to become a platform for self-learning through new attempts and retraining core capacities needed in the changing field.

Yu Shin Park

It should be reminded how the value of arts and culture education emerged in the days of the Second Industrial Revolution era when machinery replaced labor. In the world of arts and culture, a machine doll, Automata, was invented, along with phenomena of humans imitating machines. Upright and machinelike modern ballet movements were also created during the times, and the human will towards superior forms of human beings created the present automatous lifestyle. In addition, a sense of skepticism about arts imitating machines appears in artworks of the romantic age. Carlo Collodi’s 「Pinocchio」 and Andersen's 「The Nightingale」 are creations from such context. Briefly reviewing the outline of the Nightingale is as follows. The King was raising a nightingale, when one day, a machine nightingale decorated with jewelry came to the castle. The original nightingale was abandoned but then when the machine nightingale broke down, it was brought back to the castle again. It is a piece that was created from the fear of the Second Industrial Revolution and criticism towards technology and civilization. Likewise, in a society where ‘tryouts and experiences’ are emphasized in addition to ‘reasoning’, it is important that KACES keeps in mind that its objectives of arts and culture education goes beyond ‘technical education’ of arts, but also includes supporting people to reflect on life and culture through arts, and to feel the joy towards forming communities.

Chang Hwan Kim

I agree. We have to think about ‘where about humanity is heading towards at the moment’. We seem to be heading towards the era of the Fourth Industrial Revolution, but there needs to be questioning whether it accords with our aims. Ethical and philosophical issues should also be addressed in arts and culture education.

Hak Soon Yim

The Fourth Industrial Revolution is an area of interest for all. There needs to be a work of ‘cognizance sharing’ among fields. There must be time to think. It is also good to have related forums or roundtable discussions. Continuous discussions are needed on what is the desirable direction of arts and culture education in the era of the Fourth Industrial Revolution for problem-solving; how to create a variety of platforms and sources of knowledge and culture into new arts and culture education contents; how to utilize virtual reality and augmented reality technologies as our resources; and how to deal derivative problems.

Hak Soon Yim Majored in Sociology, received M.A. and Ph.D. in Public Administration at Seoul National University. Formerly worked at Korea Culture & Tourism Institute and Korea Creative Content Agency. Currently a Professor of the Media Technology & Media Contents Department and Director of the Cultural Business Research Institute at the Catholic University of Korea.

Yu Shin Park Elementary school teacher. Majored in Elementary Education during college but re-attended School of Arts, and majored in Crafts in order to become an artist. As an active viewer of modern visual culture, she is currently researching and teaching visual arts education in elementary schools with special interest towards animation education.

Chang Hwan Kim Majored in English Language and Literature, completed Graduate School courses in Education at Yonsei University. Received Ph.D. in Education at the Universität Tübingen, Germany. Former Policy Advisor of the Ministry of Education, Member of the Committee on University Advancement, Evaluation Committee member of the Metropolitan and Provincial Offices of Education, Policy Advisor of the Ministry of Unification, Advisory Committee Member of the Ministry of Foreign Affairs. Currently the Director-General of the Educational Survey & Statistics Research Division at the Korean Educational Development Institute.

Jong Eun Chung Majored in Aesthetics for his B.A. and M.A at Seoul National University, and received his Ph.D. in Cultural Policy at the University of Glasgow, UK. Former Deputy Director of the Division of METAA Knowledge, METAA Co., Ltd. Currently working as an Associate Research Fellow of the Arts Policy Research Division at the Korea Culture and Tourism Institute, Adjunct Professor of the Graduate School of Public Administration at the Catholic University of Korea, Board Member of the Korea Association for Cultural Economics, Korea Culture & Contents Technology Association, etc. Main areas of interest include policies related to arts industry, cultural start-ups, and local cultural contents.

Ji Sun Lee Currently the Director of Innovation Center for Education at Sookmyung Women's University. Holds positions as the President of Maker Ed Korea, Board Member of the Korea Society of Design Science, Korea Bigdata Society, and Incorporated Association AppCenter.

Kaces Focus

Community Culture as a Regional Culture, and Arts and Culture Education Min Ryoung Jung_Director. Gwangju Buk-gu Cultural Center

Culture is only shared within local boundaries or living zones, due to its features of being enjoyed and being handed down from one person to another. Thus, it has regional limitations, or in other words, regionality. As Arirang is not all the same and orally passes down with slightly distinct features depending on the region, the community culture contains strong individuality, regionality and specificity, which are key elements in forming a regional culture. Of course, not all community cultures contain regionality or result in local cultural activities. This is attributable to the fact that most community culture is mainly focused on â&#x20AC;&#x2DC;fulfilling community culture desires oriented on consumptionâ&#x20AC;&#x2122; that mainly consumes daily life. Furthermore, the present community culture based on consumption stays largely on the individual level and shows tendencies toward following the trend of the society as a whole, instead of the making a regional culture of its own with unique characteristics. It is the arts and culture education that overcomes such individualistic and consumptioncentered community culture, and acts as a medium that infuses the community culture with the minuteness of regionality and the value of the publicness. It is a new understanding of the role of arts and culture education as a catalyst to spread the dynamics and publicness of community culture in regional areas. In order to move beyond the limits of individual and self-sufficient community culture activities, and head towards a community culture with publicness and regionality, it is necessary to reconstruct arts and culture education activities in a way that emphasizes dailiness, accessibility, sustainability and spontaneity. Regional arts and culture education needs to be redesigned, aiming for such direction.

12 However, there are some stereotypes to think about when connecting community culture and regional culture with arts and culture education. Such stereotypes include the following: the tendency of simple self-sufficient hobbies and club activities being perceived as the whole of community culture activities; the tendency of regarding that genre-centered amateur arts activities are all there is to community culture (arts) activities, as a result of defining ‘community arts’ as an opposing concept of professional arts (although the concept was created while criticizing the separation between daily life and arts); defining arts and culture education and community culture activities as separate stages as well as to form community culture clubs after arts and culture education; concluding arts and culture education as a modularized program framework; and recognizing community culture clubs as the sole structure of cultural community activities. As one example of a community culture with regionality, the ★'Buk-gu Cultural Center', where I belong to, holds an event every once in a while. With a big name called the ★

★★★

<Rice-Planting Performance>, the event takes place in

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Subuk, Damyang. This year, a few villagers and residents gathered together

and shared the cost for preparing the event. The <Rice-Planting Performance> is an arts event as well as a farming event that has been occasionally held since 2000, led by artist

★★★★

Moon Jong Park, who thought that rice-planting can be

one of the finest arts performance, from the idea that the production process of farmers share contextual similarities with the act of creation by artists.

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Buk-gu Cultural Center : ‌ Located in Gwangju, it is a complex cultural space that is becoming a central site for regional arts and culture education through various arts and culture education programs and various voluntary smallscale cultural activities from local residents.

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Subuk, Damyang : ‌ Located in the Western part of Korea, Jeollanamdo Damyang area, the origin of the region’s name, Subuk, came from its location on the northern part of the river.

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Rice-planting : ‌ Transplanting rice seedlings grown in rice seedbeds to the rice paddy. Also called rice transplanting.

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Moon Jong Park : ‌ Painter Moon Jong Park graduated the Department of Fine Arts at Honam University and the Graduate School of Pure Arts Division at Chosun University. In order to better understand the rural life, he moved to a village in Damyang, where he has been working on artworks mainly on farming culture.

Kaces Kaces Focus Issue

This is a site where arts and rural life encounters. Watching the performance, it feels like watching a reenactment play that expresses the community of people and children working together, resting and playing, with focus on the traditional farming culture called 'rice-planting'. If having rice wine after working while singing work-songs is a sort of restored community culture, children longing for a rich year by drawing ‘dragon painting and farming season’ while saying, “please give us rain as we put up a dragon painting!” refers to arts and culture education. For artists, it becomes a process of artistic creation of completing a piece of ground painting, as they picture rice-planting people as dots on the canvas of Mother Earth, planting cords as lines, and rice fields as surfaces. With the Rice-Planting Project serving as a momentum, an arts and culture education program was formed, called <Land and Arts>. After children walked through the neighborhood playing with earth and water, a village artist's workroom became a ‘Village Arts School’.

<Rice-Planting Performance> with Residents (2012)

School with Wheels <Land and Arts> (2017)

Transition of regional arts and culture education, ‘Village arts school’ ‘Village Arts School’ is an integrated system that opens up the possibilities of a village-based arts education community. It does not imply reflecting characteristics of the cultural and historical resources of the region in the educational curriculum like the existing regional characterization of the arts and culture education. Rather, it refers to a more integrated approach. This ‘Village Arts School’ creates arts education contents that are close to the living area by uniting resources within the village, that is, the living unit. It is to create a new arts education practice model. In that sense, ‘Village Arts School’ resembles the concept of 'appropriate technology'. Appropriate technology is compatible with regional, cultural, and economic conditions from a technical point of view. It uses simple technology and local materials, and aims for 'appropriateness', for the people in the area to be able to operate and maintain tools and processes. Like the meaning of ‘appropriate technology as a sustainable technology’, ‘arts education for a sustainable life’ can be practiced through ‘Village Arts School’, considering how the ‘Village Arts School’ is in pursuit of simple and small regional community schools that makes good use of knowledge and experiences of villagers by relying on local resources and contents. As arts is applied to the lives of local people through the method of village-based appropriate education, a new turning point of regional arts and culture education will be created.

Imagining the ‘Village arts school’ First, as mentioned above, ‘Village Arts School’ is an integrated model of local community schools. Therefore, ‘Village Arts School’ has its own individual and distinctive features in each village. ‘Village Arts School’ cannot exist as a single program. It should be in touch with the educational culture of the local community of the village, residents’ autonomy, welfare, environment, and community culture. In some villages, there is 'afterschool village arts school', which is in connection with the afterschool activities, 'civic environment culture school', which fosters residents who can cooperatively think together, or the ‘local children’s village arts school’, where children of several community child centers gather and learn arts. In some other village where there are many other artists workrooms, 'arts workroom schools' and village theater-centered 'village theater play schools' takes place. ‘Village Arts School’ transcend genre, can be closer to the nature of civic education or lifelong learning, and may be viewed as an effort to integrate school education and extracurricular education.

Kaces Focus

Second, ‘Village Arts School’ relies on the local socio-cultural environment. Therefore, operators and teachers who run the ‘Village Arts School’ should be members of the village. Indeed, it may be difficult to gain expertise forthwith, but villagers will learn the talents, wisdom and skills (tacit knowledge) gained through their works, although it may be very simple things. For example, recruitment of teachers is only made among the villagers including, village electric repairers, village carpenters, village artists, school teachers, fairy tale writers living in the village, and arts instructors working in cultural facilities. Although they are not trained teaching artists, their teaching capacity will gradually improve during the process of studying and learning with other villagers. Third, curriculum that can only be learned at the ‘Village Arts School’ can be specialized. Previously, several types of schools depending on the sociocultural environment of various villages have been introduced. Depending on the school types, a unique and creative arts education curriculum can be developed. ‘Village Arts School’ can be formed with various curriculum including the following: a program in the form of 'workshops combining science and arts' taught by village repair craftsmen; an ★‘occupation project' that emphasizes occupational activities such as house building education; an outdoor ecology education program where the hill behind the village become the site of education , and practices cultivating the village garden; civic arts education program by village workrooms; Madangguk Korean traditional performance school centered on village drama programs; ‘design village school’ of learning design in daily life like the Bauhaus; ‘playground school’ that thinks on the village playground; and ‘village technical school’ learning appropriate technology.

occupation : ‌ Designed by F.W.A. Froebel in 1838, along with the Fröbel

★

gifts, also called task or hand skill. It not only enriches children’s pastime, but also aims to nurture the agility of hand movement and teaches the law of nature through the tasks.

Regional arts and culture education, from the local to the hyper-local 'Local' in regional arts and culture education should be close in terms of distance and must be tangible. The local is not an abstract concept and does not only refer to the subject or the educational space of an educational program. It is the relational foundation in which small-village learners gain intangible learning and can actively interact with their neighbors. It can be understood as a concept of 'neighborhood', or through the concept of hyperlocal. ‘Hyper-local’ means ‘to fit in a very narrow ran ge of specific areas’, 'the most local', and 'to strictly concentrate space and time into sub-local areas'. Regional arts and culture education can be practiced in a way of sharing intimate conversation on one’s local interests, since the targets are one’s own neighbors. Therefore, regional arts and culture education should be changed in the direction of improving accessibility, dailiness, and relationship (network), based on these sub-localities. ※ ‌ Contents on the ‘Village Arts School’ have been quoted from my presentation made at the Arts and Culture Education Policy Forum (May 31, 2017 / Gwangju Cultural Foundation)

Min Ryong Jung_Director, Gwangju Buk-gu Cultural Center Currently working at the Gwangju Buk-gu Cultural Center, with intermediary activities that connects arts and culture education and community cultural activities. Nowadays, is paying attention to residents having interest in designing their own community culture, and is currently running a workshop program including the ‘good carpentry workshop’, and the occupation-centered arts education <School with Wheels> from 2005 to 2007, and again from 2012 to 2017, a total of 9 years until today.

Kaces Report

The Effects on Families and the Local Community Beyond Individual Change Study on Changes in Children of 'Orchestra of Dream' on 2016

The â&#x20AC;&#x2DC;Study on Changes in Children of Orchestra of Dreamâ&#x20AC;&#x2122; is to examine the long-term effects of Orchestra of Dream project, conducted by the Korea Arts & Culture Education Service. To this end, a three-year longitudinal study was designed and established to demonstrate the individual and social effects on the Orchestra of Dream participants, families, and local communities, based on the eco-systematic perspective. Targets were children who participated in the Orchestra of Dream, families, and education instructors. In order to prove the effect of Orchestra of Dream more objectively, various methods such as psychological measurement, physiological measurement, and in-depth interview were used so as to testify effectiveness of the Orchestra of Dream project in various fields.

<Three-year research plan> Goal achievement of Orchestra of Dream - Healthy growth of children - Changes in family and local community - Social integration

Overall analysis on changes in children

Year 3

- Main survey, Final three-year analysis on changes in children - Long-term effect analysis, Documentary storytelling composition

Panel management and main survey

Year 2

- Sample care and management, Main survey - Sample dropout factor extraction, Change in children and influence factor extraction

Indicator development and longitudinal study design

Year 1

- Survey design, Conduct of preliminary and main survey - Short-term effect analysis on Orchestra of Dream participants

Sampling and development of reliable and validated measurement tools In the first year of the study, a measurement tool with reliability and validity to measure musical development of children participants of Orchestra of Dream was developed for selecting measurement questions used for three years. Focus was put on the fact that there was no scientific measurement tool to systematically measure childrenâ&#x20AC;&#x2122;s musical development. The musical development measurement tool was ultimately devised into 21 questions, dealing with music knowledge, music enjoyment, music attitude, and music activity dimensions, which were testified in terms of their reliability and validity, through the scientific scale development process. The Orchestra of Dream effectiveness measurement model was formed with configurational dimensions and measurement items based on five domains, which research team devised to encompass the social development and social effects through music activities. The five areas include, musical development, individual growth, human relations, public implications, and socio-economic benefits. To cover all viewpoints of various stakeholders related to the project, targets of the effectiveness measurement were composed of children participants, parents, music directors, and education instructors according to the contents of each measurement items. In the first year, the number of research samples was selected from children participants (experimental group) of all newly participating institutions of the project in 2016, and children participants (comparative group) continuing their participation in the second to fifth year participating institutions. Results showed that 244 from the experimental group, and 506 from the comparative group were found as valid samples. Survey on parents and education instructors was only conducted in newly participating institutions of the project in 2016, and gained valid samples of 233 parents and 49 education instructors.

Major research results of the first year Considering the main research contents of the first year, the results of the analysis on children showed that the comparative group, who were beyond their second year of experience compared to the first-year children participants in the experimental group, showed higher statistically significant levels in terms of overall musical development dimensions including, music knowledge, music enjoyment, music attitude, and music activity. In addition, in the comparative group, it was found that they showed significantly higher levels in individual development areas (selfesteem, communication skills, future prospect) and in areas of human relations (acceptance of others, consideration for others), public implications and socio-economic benefits (social trust, sense of belonging/bonding, community participation behavior, social capital level), in comparison to the experimental group. In particular, the results of matching analysis between two groups, conducted in order to strictly evaluate the effectiveness of this project targeting children, showed that the more they had experience in the Orchestra of Dream, the more they gained musical development. Such series of analysis results are meaningful, for it shows that participation in Orchestra of Dream has overall positive effects on areas of children participantsâ&#x20AC;&#x2122; musical development, individual growth, human relations, public implications, and socio-economic benefits. The results of the analysis on education instructors showed that the teachersâ&#x20AC;&#x2122; acceptance level towards others and the social capital level were found to be highly perceived after participation in the project. Analysis results on parents as an outcome of participating in the project, showed positive perception levels in terms of lower caregiving costs, less childrearing stress and change in local community, as well as the value of Orchestra of Dream.

Kaces Report

Results of qualitative analysis on change in children of Orchestra of Dream The qualitative analysis on change in children of Orchestra of Dream was conducted using observation and focus group interviews (FGI). Centered on the three newly established base institutions that initiated the project since early 2016, data was gathered through children participant groups, education instructor groups (including music directors), and parent groups. <Analysis results on FGI of children participants of 2016 Orchestra of Dream> Knowledge and understanding, Improvement in musical instrument ability

Individual growth

Internalization of arts experience

Influence of human interaction

Public implications

Socio-economic benefits

•Attachment formation or behavior change with one’s musical instrument •Change in music knowledge or overall attitude towards music •Improvement in handling musical instruments and playing skills •Furthering dreams as a future musician

Joy, Inspiration, Acquisition of preference •Ensemble, Knowing its unique joy •Creating inspiration and sense of challenge •Change in preference: attachment formation towards classical music

Improvement in social skills •Making diverse friends outside of school •Reflecting the meaning of friends through music •Consideration, cooperation, and communication skills

Activity, Development in behavior •Understanding and practicing for others through orchestra activities •Trust and respect towards each other through peer teaching

Acquisition of music value and social affiliation •Accepting music into life •Reinforcement of affection and affiliation towards the belonging society

※ Extracted from the 'Report on Change in Children of 2016 Orchestra of Dream Through the Orchestra of Dream activities, children were found to be experiencing small and large changes in terms of ① individual growth, ② internalization of arts experience, ③ influence of human interaction, ④ public implications, and ⑤ socio-economic benefit areas. Among them, children were found to perceive musical development and internalization of arts experience as the most important changes in terms of individual growth, whereas instructors and parents felt more changes in the qualitative growth and influence of human interaction. Apart from the evaluation of instructors and parents, it is noteworthy to highlight that first-year children participants themselves pointed out musical development as their utmost change. Additionally, the Orchestra of Dream project has also been making changes for instructors and parents, centering on changes made in children. In the case of instructors, this change indicates growth as an educator while dealing with neglected children, and for the case of parents, change is in the form of enjoying culture on the household level.

<Comprehensive research results of the first year, 2016> •‌ Children’s musical development in terms of music knowledge, enjoyment, attitude, and improvement in playing skills •‌ Contribution to children’s emotional, cognitive development of self-esteem, communication skills, and leadership improvement •‌ Reduction in parents’ childrearing stress, and improvement in arts instructors’ acceptance of others and experiencing pride

Individual

Friend/ Family relations

•‌ Children’s acceptance of others, consideration and respect towards others, improvement and expansion of friend relations through enhancement in cooperation •‌ Afterschool care service effect •‌ Bond of sympathy among family members through family culture enjoying music and growth of family through building healthy family relations

Local community/ Society

•‌ Enhancement in children’s etiquette and sense of belonging to the society, social capital formation through community participation behavior •‌ Local culture development through contribution in expansion and enjoyment of local arts and culture experience

Social integration through music

Changes in individual growth and human relations In the second year of the study, aims were set to confirm the change in children participants of Orchestra of Dream by verifying the changes of the continuing participants from the first to the second year. Analysis is still under progress, since there were two measurements in May and October in 2017. The changes in children based on results gained from the first half of the year are as follows. <Five factors showing significant level of increase> 4.18

4.18

3.59

Self-Esteem

2016

3.62

Future Prospect

2017

3.36

3.5

Sense of Consideration

4.1

4.07

3.9

Belonging/ Bonding

3.52

Social Capital

※ Mean value – Scale of 5 points

Kaces Report

2016 Classification

Human Relations

Public implications

Significance

Standard

Mean

Standard

Value

Deviation

Value

Deviation

Value

Deviation

3.32

0.64

3.73

0.77

0.41

0.68

8.040

.000

3.60

0.72

3.96

0.87

0.36

0.83

5.729

.000

3.42

0.69

3.87

0.87

0.45

0.89

6.797

.000

2.96

0.51

3.13

0.91

0.17

0.83

2.694

.008

Self-esteem

3.59

0.65

4.18

0.77

0.59

0.82

9.524

.000

Sincerity

3.65

0.72

3.76

0.80

0.11

0.73

1.933

.055

Communication abilities

3.54

0.68

4.07

0.78

0.54

0.73

9.838

.000

Future Prospect

3.62

0.65

4.18

0.80

0.56

0.83

8.865

.000

Health(Stress index)

2.10

1.02

1.93

0.97

-0.17

1.02

-2.198

.029

Acceptance of others

3.43

0.70

3.99

0.86

0.56

0.87

8.609

.000

Consideration

3.36

0.64

3.90

0.86

0.54

0.79

9.119

.000

Social trust

3.40

0.62

3.89

0.94

0.50

0.86

7.802

.000

3.50

0.66

4.07

0.84

0.57

0.85

8.844

.000

3.25

0.63

3.64

0.87

0.39

0.76

6.970

.000

Social capital

3.52

0.74

4.10

0.97

0.58

0.89

8.696

.000

Voluntary activities

1.60

0.40

1.65

0.41

0.05

0.39

1.465

.145

1.97

0.21

1.95

0.38

-0.01

0.40

-.377

.707

Emotion

Behavior

growth

mean testing

Mean

Music knowledge

enjoyment Music attitude

Individual

Paired difference

Standard

Music development

Paired difference

Mean

Perception

Musical

2017

Music activity

Sense of belonging/ bonding Community participation behavior

level (two-sided)

Socioeconomic benefits Voluntary activities

Number of persons

Human

Family relations

4.27

0.84

4.39

0.76

0.11

0.71

2.165

.032

Family cohesion

4.17

0.94

4.25

0.86

0.08

0.77

1.308

.193

Linguistic ability

3.57

0.89

3.72

0.93

0.15

0.83

2.249

.026

Mathematical ability

3.47

1.11

3.79

0.91

0.32

0.83

5.117

.000

Group promotion

3.28

0.66

3.82

0.88

0.54

0.77

9.413

.000

Follwership

3.44

0.69

4.08

0.85

0.64

0.81

10.714

.000

3.30

0.70

3.92

0.89

0.62

0.75

10.914

.000

relations Study achievement levels

Human relations

supported

Conflict and problemsolving

※ Mean value – Scale of 5 points ※ t-value= Statistical difference between two mean values

The mean of difference between individual values (t value) in 2016 and 2017 for each item of musical development changed statistically in all aspects. Moreover, most measurement indicators showed significant increase including, individual growth (self-esteem, communication, future prospect, health), human relations (acceptance of others, consideration, cooperation and collaboration), public implications (social trust, sense of belonging/bonding, community participation behavior), socio-economic benefits (social capital), and study achievement levels (linguistic, mathematical abilities). It is necessary to confirm how indicators with increased levels will be maintained in the future, and what results will be achieved in the areas of sincerity, voluntary activities, and family cohesion that have not yet shown any changes. Meanwhile, as a result of confirming the difference in cortisol concentration levels of children participants of Orchestra of Dream for verifying the physiological indicator change of stress, it was found as decreased in

Musical development and individual growth factors felt by children In a qualitative research study in 2017, we re-interviewed participants who were interviewed in 2016. In interviews, we asked the children in a variety of ways on the question of what they see as having been changed through the continuous orchestral activity, comparing last year and this year. As a result, children's feelings on their change were mainly divided into changes caused by musical development and changes caused by factors otherwise. Among the changes due to musical development, major themes analyzed converged to ① improvement in musical instrument ability, ② learning the joy of playing musical instruments, ③ forming attachment to musical instruments, and ④ new perception of instrumental performance and music. In the case of musical development, children still regarded the ‘improvement in musical instruments ability’ as the biggest change, which is also shown in the 2016 study results. However, 'learning the joy of playing musical instruments' and 'forming attachment to musical instruments' were strengthened than in 2016. Among the changes due to factors otherwise, main themes analyzed converged to ① changes in individual growth (a. self-control ability, b. improvement in cooperation and responsibility, c. improvement in selfconfidence), and ② changes in human interaction (a. increased family communication, b. making new friends and improved sociability). Compared with the results of the 2016 study, the expansion of human relations by making new friends and the improvement in individual growth such as self-confidence, cooperation, and responsibility were shown in common. However, self-control and increased family communication were analyzed as newly reported major changes through the voice of the children. The 2017 survey will take place once more in October, and will include not only the outcomes on children, but also the changes mentioned by parents and instructors. After the completion of the research in 2018, it will conclude its three-year research project on children participants of Orchestra of Dream. Comparing the results of 2016 and 2017, it was shown that the Orchestra of Dream not only influenced musical development but also individual growth of the children. Positive change in households and local communities that goes beyond the individual level may also be able to predict in long-term results as well.

Kaces Report

Arts and Culture Education Learned and Experienced in Schools Survey on 2014~2016 school arts and culture education

How well is the arts and culture education in schools operated? If you are a teacher, school inspector, arts instructor, arts and culture education policy-related personnel with such curiosity, attention should be given to the 「Survey on School Arts and Culture Education」 results. This survey is conducted on a census basis, which targets all elementary, middle, and high schools nationwide, for the aim to collect basic statistics of school arts and culture education and to establish related policies and strategies. In fact, there are some preexisting statistics related to school arts and culture education, but most are sporadic surveys, whereas in-depth studies on the current status of arts and culture education in schools are relatively rare. To overcome such limitation, the Korea Arts & Culture Education Service(KACES) has been able to obtain basic statistics that can be used as a basis for promoting school arts and culture education policies, by identifying and analyzing the present conditions of arts and culture education within and beyond the curriculum, since 2014. This survey is largely organized into ‘arts and culture education within the curriculum’ and ‘arts and culture education beyond the curriculum’. In addition, the survey looks into the conditions of ‘arts and culture-related external support projects’, depending on the school level, regional level, and on school scale. First of all, 'arts and culture education within the curriculum' is composed of ▲ current management status of arts curriculum (class hour ratio of Korean traditional music within music curriculum, class hour ratio of expression activities [dance] within physical education curriculum) ▲ current status of arts and culture education in creative experiential activities ▲ current status of arts and culture education according to the free semester system in middle schools ▲ current status of arts and culture education related to field learning. ‘Arts and culture education beyond the curriculum’ is composed of, ▲ current status of autonomous clubs, Saturday clubs, and afterschool arts and culture education. A total of 11,563 elementary, middle, and high schools nationwide were surveyed from early September to mid-October in 2016, and with the response rate of 82.4%, a total of 9,524 schools participated in the survey, of which the research results are as follows.

24 “Decrease in arts curriculum towards higher school years, expressive activities (dance) particularly actively operated in girls’ middle and high schools” Result on average ratio of ‘Korean traditional music class hour within music curriculum’ in 2016, showed numbers of 28% in elementary schools, 19.1% in middle schools, and 9.6% in high schools. As school levels become higher, class hour ratio of Korean traditional music diminished in great scale, among which from the first year in high school (15%) towards the third year in high school (5%) showed the utmost decrease. In addition, the average ratio of ‘expression activities (dance) class hour within physical education curriculum’ were found to be 15.4% in elementary schools, 10.6% in middle schools, and 4.8% in high schools. Influence on expression activities (dance) classes depended heavily on the gender factor due to its specificity of genre, where active management took place more in girls’ middle school(15.5%) and girls’ high school(10.5%) in comparison to the entire middle and high school average. <Management status of arts subject in elementary, middle, and high schools in 2016> The average ratio of Korean traditional music class hour within music curriculum 28

The average ratio of Expression activities(dance) class hour within physical education curriculum Girls’ middle

1st year 15

schools

2nd year 9

19.1

Girls’ high

15.5

3rd year 5

schools

15.4

10.5

10.6

9.6

4.8

Elementary schools

Middle schools

High schools

Elementary schools

Middle schools

High schools

(unit: %)

“Music as the most actively practiced arts and culture education under free semester system in middle schools” In 2016, the free semester system in middle schools, which aims to educate students by fostering their talents and pursuing happiness education, was practiced to its fullest extent, becoming the basis for expansion of arts and culture education. Music (78.3%) was the most popular arts and culture education field under the free semester system. Musical showed high participation rates, which seems to be due to its characteristics of being able to perform the outcomes on stage. <Management ratio of arts and culture education fields in 2016 under the free semester system in middle schools> 78.3 58 43.4 30.2 20.5

17.9

22.7

28.6

27.6

9.9

Korean traditional music

Craft

Movie

Dance

Cartoon Animation Literature

Photo

Music

Design

Artwork

(unit: %, multiple responses)

Kaces Report

“Decrease in ratio of special creative activities in arts and culture education in middle and high schools” In 2016, ‘the management ratio of special creative activities* in arts and culture education’ recorded 61.2% in elementary schools, 35.9% in middle schools, and 33.1% in high schools. Comparing the 2015 and 2016 data, arts and culture education ratio in middle and high schools were lower, aside from results of elementary schools. The reason for such decrease can be found in FGI (Focus Group Interview) contents, where arts and culture education specialists including teachers and school inspectors were interviewed. According to expert opinions of the FGI, schools can manage arts and culture education as part of special creative activities, but as the number of courses (safety, health, information and communication, education on unification, etc.) increase depending on the necessity of social issues, arts and culture education ratio is relatively decreasing. However, although arts and culture education in special creative activities has decreased, arts and culture education is newly being expanded into ‘convergence classes’ or ‘free semester system in middle schools’. * ‌ As an autonomous type of creative experiential activities, special creative activities are run on a school-based management.

<Arts and culture education ratio within 2015~2016 special creative activities> 61.2

58.3 41.4

Elementary schools

Middle schools

39.1

High schools

2015

Elementary schools

35.9

33.1

Middle schools

High schools

2016 (unit: %)

(unit: %)

“Number of arts and culture clubs maintained, whereas the total number of clubs increased” From 2014 to 2016, the number of 'total clubs (creative experiential activities, autonomous clubs, Saturday clubs)' showed a steady increase as shown in the figure below. The reason seems to be that the number of autonomous clubs has influenced the increase in the total number. It can also be inferred that the non-arts related fields such as English and mathematics became active, which would have affected the increase in the total number of clubs as well. In contrast, the number of arts and culture clubs in theater and arts did not change much. The reason for this is that unlike other clubs, arts and culture related clubs have already been established and managed. Thus, overall, they have been maintained without major change.

<Average number of club activities in elementry, middle, high school in 2014~2016> 72.4

High schools Middle schools

Elementary schools

38.8

Total Clubs

Arts and culture related Clubs

26.1

18.7 17.3 11.5

11.0 10.5

11.6 9.0 7.5

9.4

7.1

7.5

2014

2015

2016 (unit: numbers)

â&#x20AC;&#x153;Overall decrease in management rates of afterschool programs, whereas active arts and culture education is taking place in small townsâ&#x20AC;? As a result of examining 'the management ratio of afterschool arts and culture education program operation' and 'average number of programs' of the three years, it can be seen that they are operated in a similar way as shown in the below figure. However, the average number of afterschool arts and culture education programs in middle schools were found to be approximately 3.7 in 2016 on average, but higher participation rate was found in rural communities in smaller cities and in schools with under 400 students, recording higher than the average numbers of approximately 4.3 and 4, respectively. Regarding this issue, arts and culture education experts forecast that schools in small towns are more active in afterschool arts and culture education programs due to lack of private education opportunities such as private tutoring and private educational institutes.

<Management status of 2014~2016 afterschool arts and culture education program> The management ratio of arts and culture education program operation 98.0

98.2 98.1

9.1

97.5

97.8 31

The average number of programs

8.4 6.1

95.6

90.8

4.9

88.6 5.0

86.6

2014

6.28

2015

2016

2014

4.5

2.2

2015

2016

(unit: %)

Elementary schools

3.7

(unit: numbers)

Middle schools

High schools

Kaces Report

“Special arts projects are continuously increasing in all school levels” In recent years, special projects, where students can gain experience in various fields such as arts and culture, sports, and science, have been carried out in schools in order to respect students' individuality and to promote creativity. As a result of examining 'the management rate of special arts projects (for example, project of teaching at least one musical instrument per student)’ that are suitable for long-term intensive learning on arts, it was shown as in below figure that continuous increase was found throughout all school levels for the past three years. In addition to the school's own budget, experts in the educational field point to the expansion of budgets supported by the local, central governments, and the Office of Education, which positively affects students’ experiencing arts in daily lives and gaining cultural sensitivity.

<Management rate of special arts projects in 2014~2016> 73.7 67.6

65.9

56.1 49.6

49.3

Elementary Middle schools schools 2014

High schools

45.9

39.6

37.2

Elementary Middle schools schools 2015

High schools

Elementary Middle schools schools 2016

High schools (unit: %)

So far, we have examined the current status of arts and culture education that children and youth learn within and outside of the school curriculum. Summarizing the main results, as the school level becomes higher, the proportion of arts and culture education in special creative activities somewhat decreased depending on classes of arts curriculum and social issues. However, with the introduction of the free semester system in middle schools, the foundation for students having access to arts and culture education has been expanded. In addition, budget support increase for arts and culture education from the central, local governments and Office of Education became a positive factor for students being able to experience arts in abundance. Likewise, the overall flow and trends of arts and culture education was found by analyzing the status of school arts and culture education, with the three-year time series data based on multiple factors including school levels, regions, and school scale. Survey will be conducted this year as well, since the idea of current conditions originally signifies ‘finding meanings in grasping the site constantly through great change may not occur’. While maintaining the major framework of the survey, research expects to go further in estimating the activation level of school arts and culture education, by more tightly engaging with the sites and environments of arts and culture education. It is expected that the study can be used as concrete grounds for interpreting trends of arts and culture education managed in schools, and for policy implementation of arts and culture education for children who will become cultural citizens of the future.

Kaces Program

Bus Adventure with Songs filled with Innocence of Childhood 2017 Mobile Arts Station Arts Bus <Zombie Busters Mediaband> Every summer, buses decorated with many different colors crisscross the whole country, visiting and delivering arts education. ‘Mobile Arts Station’, the moving arts and culture education of agriculture, mountain and fishing villages, provides a chance to enjoy a variety of arts activities for the children and the elderly, by decorating buses, trucks, and ships into a space for experience. It visits areas such as islands, mountainous, farming and fishing areas, where cultural foundations are relatively weak. This year, there were a total of six programs. As one of the programs, Urban arts project team’s <Zombie Busters Mediaband> arrived in Jeonnam Yeonggwang on 29th of last June. Program participants included children from Hongnongseo Elementary School in the morning session, and children from Chorok-didimdol Community Child Center in the afternoon session. On a day in late June, when summer started to set in, 16 children who were invited into the secret base of ‘Zombie Busters’ got on the bus one by one, taking a ‘zombie posture’ by stretching their arm up front and hanging their wrists down.

Kaces Program

Becoming Heroes of the Adventure in the Theme Park An artist wearing a training uniform becomes a Zombie Buster squad member and greets children with a rather determined look. The black wall with large spiders and spiderwebs, paper skull decorations hanging on the wall makes the inside of the bus with a spooky atmosphere. Without even catching breath, members explain the current situation in an urgent and a firm manner. “Children in Seoul are becoming zombies. But we can save them. We need your help. Can you all help us?” The children wait for orders from the captain, determined to receive the busters training, in order to fight the zombies. First, inside the dark bus, children who were caught by the tagger in the warming up game of catching zombie with the teachers, get to dress up as zombies. While laughing, looking at each other’s funny faces, they get ready to be trained being disguised as zombies. Messages are sent out on the seriousness of the situation in Seoul through the screen installed on the front side of the bus, showing scenes of horrible zombies walking through the streets. For our friends who turned into zombies, we write warm lyrics with our sincere heart, gather together, and play beautiful music to fight the zombie virus and return our friends back to human. Although it is pre-made 'fake news', children are immersed into the situation little by little, going back and forth in between the reality and the virtual reality. Now as a special method to defeat zombies, music training begins for writing their own lyrics and singing their songs. "It was a short session, but I wanted it to be an unforgettable experience. I tried to make them feel as if they were playing in a mysterious theme park by utilizing the zombie material that can make the most out of the unfamiliar enclosed area of the bus coming from far away. A series of process were made while finding ways to do music activities using smart devices or tablet PCs that are familiar to the children." – <Zombie Busters Mediaband> Artist Ji Hyun Baek This program naturally draws children's imagination by giving them the task of becoming a "Zombie Buster" member through training to defeat zombies and mission of saving friends. As if playing the ‘Role Playing Game’ by using the zombie material that is familiar enough to express with actions and gestures without separate explanations, children quickly become the leading characters of one’s own adventure. It is like trying 'Magic if' to feel the situation of others by transforming the situation into something that can be experienced. The magical effect of the question 'what if…”, becomes a starting point for creations. The assumption that the zombie is chasing the children has a strong narrative potential that helps them immerse themselves into the dramatic situation.

30 30

Becoming one through songs filled with hearts and by performing together Once the music activity starts in earnest, making songs with the artist begins. Since good lyrics and fine melodies are the vaccine for getting rid of zombies, basic training for perfecting the ‘Busters Song’ takes place. When song-making session begins after warming up, mouth stretching, and voice training, everyone reads together what they wrote as their dreams on the board on the wall through ‘Sharing Dreams’ time, and make them into lyrics by adding on additional ideas. Such lyrics are sung into a simple rap that is easy to follow. Then they learn how to play together with the music producing software on tablet PCs. They train how to play chords by touching the pre-set device in front. Then, they share their roles with group members and practice singing and playing together. With a simple melody easy to follow and rapping lyrics made by their own, their voices grow louder and hands playing the song get faster. Now the children with each of their roles begin a small concert with all their hearts for a beautiful and a happy world. "I wanted to give the children a long-lasting experience. Music is a good medium to bring back memories. Thus, in this class it is important to be able to have a sense of unity through playing music. Some children became rappers, some played on a tablet PC, and children who could not handle the device were given musical instruments, so that no child was left out in singing and playing music altogether.” – <Zombie Busters Mediaband> Artist Jin Gyu Chun

Kaces Program

The process of awakening and expanding senses When planning the program, the Urban arts project team focused on giving experience and stimulation to new things by awakening children's senses through arts experiences in various fields, making use of our experiences of arts activities in video arts, musical and indie band areas that each member had prior to the program. Children were encouraged to pull out, explode and express their artistic senses hidden inside each participant. This comes from the idea that stimulating and inspiring experience is an important factor that influences life, since inspiration that comes from seeing and feeling new things in daily life lasts for a long time. In this program, these unfamiliar and new experiences are accumulated through the process of adventure, challenge, and performance and mastered by having a concert that eventually brings everyone in to a single collaboration. Finally, a heart-filled song and performance make zombies disappear and save friends. "No matter how small it is, I wanted the children to have time to accomplish a complete format, instead of simply having an experience. This was because once they complete a step, they will feel the desire to go on to the next. The most important part of this class is to be able to gain a sense of accomplishment through music activities despite the short period of time." â&#x20AC;&#x201C; <Zombie Busters Mediaband> Artist Yong Hun Youn <Zombie Busters Mediaband> allows children to open their minds by assuming that the time on the bus is basically a process prepared to experience music, so that they can be induced to concentrating on the music activities that needs to be learned in the process. As a series of process is made into a direction that allows children to learn musical elements and enjoy them, a sense of self-confidence and achievement are also gained as they balance the joy of educational experience with the joy of the arts experience. Finally, the zombie disappears and as children hears the news of worldâ&#x20AC;&#x2122;s peace, they share their memories by watching filmed videos of today's session. Then, the children are qualified as reserve members and gets off the bus with Zombie Busters Badge on their collars. Hopes are given towards this short experience on the bus that it would lead to motivating childrenâ&#x20AC;&#x2122;s joyful imaginations of their lives onwards.

32 32

2017 Mobile Arts Station Program <Mobile Arts Station> is a project that have artists visit the agriculture, mountain and fishing villages where arts and culture education is hard to find, and conduct various forms of arts and culture education programs for the local residents, children and the elderly. This year, a 1.5 ton and 3.5 ton ‘Arts Truck’ and ‘Arts Bus’ travelled the entire country to visit mountainous areas that are difficult to reach by bus. And the ‘Arts Ship’ in line with hospital ships visited locals in island villages from Jeonnam to Gyeongnam with the support of provincial

Eun Ji Hong_Performance Arts Director Performance Arts Director designing various forms of performance arts. Currently working on collecting moments and leaving tracks with artists in various fields at the Alivearts como. Directed <Palimpsest>, <Cafe the Lost>, <The Dumb Poet>, etc.

Kaces Program

'Letâ&#x20AC;&#x2122;s Do It Altogether' Interview with the management group of the Cultural Police Substation in Jeju

A hot summer day, the humid weather of Jeju Island made beads of sweat upon the forehead. Today is the dyeing day, out in the backyard. Sounds of laughter are heard along with the Jeju dialect, 'Modadeuleong-heogemasim' (let's do it altogether). Students of various ages gather in the backyard, and put their clothes they brought from home deeply into the dark blue dye. It is the moment when old clothes are vitalized into renewed clothes. The Cultural Police Substation in Jeju was the second in the country to open, at the end of last year. Yongdam is only five minutes away from the Jeju Airport, but it is a culturally marginalized area. The Cultural Police Substation in Jeju is a neatly renovated, two-storied building with spacious front and backyards, fit for developing into a base for arts and culture activities. In April 2017, three people gathered together, who were born in Jeju Island on the same year, agreeing on the idea of establishing an arts and culture base within the village. Potentials of a base space for arts and culture with local contact are shown with their efforts. Stories are from interviewing the three leading figures: Go Un Oh (Representative of Culture Tree Inc.), Ki Wan Kim (Representative of Image Factory), Geum Ok Park (Representative of Art Barn).

Student Participating in Dyeing at the Cultural Police Substation in Jeju

Please introduce yourselves. Go Un Oh (hereafter, Oh): In charge of operative planning at the Cultural Police Substation. Majored in Education. Gained interest in the arts and culture education project while concerning how to graft arts and culture education to social education, and have been working since 2011. Ran a program that grafted Jeju’s traditional paper trimming activity at the Culture Tree, where I work as a Representative. Currently running a program through hip-hop with teenagers at the Kumdarak Saturday Cultural School. Mainly taking the role as a planner rather than directly being an instructor. Ki Wan Kim (hereafter, Kim): Previously taught at organizations for the handicapped through photographs and videos. Currently in charge of the program planning of the Cultural Police Substation. Was in the education business for about a decade, and is conducting the theme of 'Our Story' for adults with severe disabilities at Art Reach, an organization for local characterization. Everyone has a story to tell, but there are parts where it is difficult to express orally or through writings. In fact, there are many cases when they feel difficulties in expressing due to physical disabilities or because they are intimidated by themselves. However, while working on artworks, they start to speak their minds. That’s what arts is all about. Discomfort is resolved by expressing oneself and they feel self-rewarding once this process is presented in their artworks. Efforts are made to communicate with images of photographs or movie images. Geum Ok Park (hereafter, Park): Currently runs a village program with visual art artists at the Art Barn, an organization of arts and culture. Currently preparing to build a cultural base in rural villages. In Jeju Island, neighboring middle-aged men are usually called as uncles. When suggesting to these uncles, “let me give you a hand in farming”, they all refuse by saying that more hands would in fact ruin the work. So, I changed the plan. There are village corporations where they make *Doenjang or Jeju’s traditional food ingredients inside the village. There, I plan to organize a program to promote rural culture through food with artists. For example, practiced activities include, setting food on a table, taking pictures and blending it in into an installation work, or selling products together.

*Doenjang: ‌ A soybean paste made with the solid part of the fermented soybean lump after scooping up the paste water

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Your motivation to participate in the Cultural Police Substation. Oh: It all started by chance. Us three were all born here in Jeju on the same year, and are representatives of each of our own arts organizations. We discussed together on what would be fun, good, and meaningful to do for Jeju’s old downtown area of our hometown ever since our childhood. We came across with the notice for recruiting a management group for the Cultural Police Substation, and started by asking ourselves, “what about trying this out?” Kim: The Cultural Police Substation project seemed to be difficult for a single organization on Jeju Island to manage. So, close friends cooperated in carrying this task forward. While planning and proceeding the project, sharing the artistic pleasure with as many local residents as possible became our new goal. Park: Friends born in Jeju gathered together to run the Cultural Police Substation in Jeju in earnest. The idea of making it into a cultural space, that everyone can come to without hesitation, was agreed. Since we were all natives of Jeju, we wanted to revitalize the community in ways that are appropriate for the local people. The area is close to the airport, but it is a town that has not been urbanized yet retaining its original form. It was a neighborhood with rare opportunities for cultural activities, so we thought that the Cultural Police Substation could grow into a good cultural base.

What is the greatest advantage of having three organizations, including the Culture Tree, working together? Park: Having majored in Sculptor, I am familiar with arts activities, ‘Go un Oh’ has planning skills with her major in Education, and Ki Wan Kim majored in photography and visual area. We complement each other. Kim: After the division of roles, the amount of work downsized in a great scale. Owing to the fact that it is a co-work rather than a solo task, it was possible to concentrate on what I was in charge of with lesser burden of work. Before, I have been taking care of overall business operations from planning, operation and outcome report by myself. Now, it is good to take responsibility of just one task, which allows me with room for deeper concerns on my part.

What did you feel while managing the Cultural Police Substation during the last month? Oh: After being recruited at the beginning of June, it took a month to complete the preparation process. Since the class starts from July, we are still learning on the related-class materials. If fact, it is a burden that we have to finish the setting and meet various administrative conditions within a short period of time. Also, it seems that we are gaining spotlight since we started management of the Cultural Police Substation relatively late. Such expectations seem to be more burdensome than the program itself. Kim: It has been a month since the beginning, but it feels as if a year has passed. (laughter) Although it is too soon to say, but the area called *Yongdam, where Cultural Police Substation in Jeju is located, is a marginalized area of arts and culture. The idea of spreading the opportunity to enjoy the arts and culture in a harsh reality has gotten even stronger. Park: Although the threshold of the police substation has been lowered, there still seems to be a vague resistance towards it. I feel that efforts should be made to make it easier for anyone to easily step over the doorstep without hesitation.

*Yongdam: â&#x20AC;&#x152; Yongdam, a village located in the western part of Jeju Island, began to be called as Yongdam due to its location on the coastal area, with a village located centering around Yongyeon.

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Are there any specific efforts made in the Cultural Police Substation in Jeju? Oh: The Cultural Police Substation in Jeju targets all residents in the local area. Regarding everyone living in this area as our guests including, natives who have lived in Jeju from long before, or recent immigrants regardless of race and nationality, we run programs that anyone can easily participate. Since classes usually takes place in the mornings and afternoons, main participants are women in their 30s~60s. Five programs are currently underway. The handwriting class, dyeing class, and woodworking class are held on a regular basis. There are also programs including the ‘Record of Yongdam', which children in groups leave records of the village into photos and videos, and a ‘Monthly Visit to a Museum’, which is taking a visit to a museum in Jeju on the first Saturday of every month. Kim: The elders of Jeju Island are somewhat exclusive and closed that they do not open their minds easily. There is a need for patience in opening up their heart by continuously visiting them and sharing greetings. Instead, once a good relationship is formed, it lasts for a long time. I was able to secure a good number of participants in a month thanks to using the tough but sticky emotions of Jeju that only the people of Jeju can know of. I would like to continue to offer such opportunities to make these participants enjoy arts and culture and to continue having the opportunity of making artworks as an artist. The 'Record of Yongdam' program, which we have designed as our representative program, is an activity to understand and to record a specific local area. Through this documentary work, we are pursuing communication between generations and neighbors. I wish to visit and communicate with the elders living in the area, rather than simply recording the scenery or artifacts as a documentary. Park: I have been proceeding on with the arts and culture activities, while getting along with the women's associations of the village from long before. Thus, it was not difficult to reach the villagers personally. Rather, they were the ones who felt it difficult to come to us. This is why we are trying to create a natural atmosphere. Nowadays, a large part of Jeju dialect have disappeared. For this reason, sharing greetings in Jeju dialect helps approaching the residents friendly. First, you need to create good relationships in your local area. Words are spreading these days looking at how residents from nearby neighborhoods come and visit the Cultural Police Substation. It seems that our strategy has been working to some extent. At first, we thought of creating a community program for the people living in Yongdam 2-dong. Now our thoughts have changed to preparing a program that anyone from anywhere in Jeju can enjoy. Oh: As mentioned before, I hope that the Cultural Police Substation can be developed into a space where anyone can freely come and go while enjoying arts and culture activities. An expression of arts and culture base was used in the proposal, but I wish it could be a free and comfortable space where one can share ideas and make one’s own artwork. The education that Cultural Police Substation Jeju Branch pursues is a concept of mutual help rather than existing methods of inviting professional lecturers. So, one can bring and share what they know little more of than others and simply share.

Kim: The Ministry of Culture, Sports and Tourism (Korea Arts & Culture Education Service) and the National Police Agency (the local government office) have made the framework for the business operation of Cultural Police Substation, however, it is eventually the local residents who vitalize it. I want to make sure that residents can accurately recognize this subjectivity. Making clear that â&#x20AC;&#x2DC;the three of us are merely helpersâ&#x20AC;&#x2122;, we wish to help participants in creating artwork instead of making them come and to be taught at. The waterfront is nearby once you go down about five minutes from here, and Mount Hallasan is within ten-minutes distance. Nature is all of our front yard with a mountain hill behind. The distinctive feature of Cultural Police Substation may be that there is a place to work freely within the bosom of nature in Jeju, as if you are taking a walk with local residents.

Opinions on the development directions of arts and culture education? Oh: In the studies of Education, education is divided into public education and non-public education. But there are many parts that public education does not provide. The intellectual aspects are overly emphasized, and other aspects are greatly ignored. Such gap must be solved by social education. The activities of the Ministry of Culture, Sports and Tourism, the local arts and culture foundations, and small arts organizations are of great educational significance. Forming one person in diverse aspects should be the foundation as well as the aim for arts and culture education. This is why I think that arts and culture education can naturally refer to all the things we did in everyday life even if we do not have the concept of education. Since there is tendency to think that non-professional art is not within the scope of arts, arts and culture education should aim at bringing power to a person so that one can enjoy arts naturally in their daily lives as things get softer one by one.

Management Group of the Cultural Police Substation, in Jeju, Representatives Ki Wan Kim, Geum Ok Park, Go un Oh (from the left)

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Kim: Arts and culture education is the pursuit and sharing of beauty. In the process of sharing beauty, communication is established, and the relationship between the artist and the audience is created. Up until the stages of creating outputs by working on artworks, while being a part of the arts and culture activity, falls into the category of arts and culture. I think that people who have experienced the joy of arts and culture should gather together and actively take part as guides. Park: It never stops people from coming and going. I deliberately try not to pursue my viewpoints to people. I try to show my natural behaviors. There are people who sometimes ask, "What is your true intentions?" Once we communicate through our gestures saying, â&#x20AC;&#x153;This is our true feelingsâ&#x20AC;?, we can make doubtless relationships. I believe that if such relationship of trust is formed, it will last until the very end. I think that it is an excellent means to arts and culture education.

Go Un Oh_ Representative of Culture Tree Inc. In charge of operative planning at the Cultural Police Substation. Majored in Education. Gained interest in the arts and culture education project while concerning how to graft arts and culture education to social education, and have been working since 2011.

Ki Wan Kim_ Representative of Image Factory Previously taught at organizations for the handicapped through photographs and videos. Currently in charge of the program planning of the Cultural Police Substation. Was in the education business for about a decade, and is conducting the theme of 'Our Story' for adults with severe disabilities at Art Reach, an organization for local characterization.

Geum Ok Park_ Representative of Art Barn Currently runs a village program with visual art artists at the Art Barn, an organization of arts and culture. Currently preparing to build a cultural base in rural villages.

2017 Cultural Police Substation Project The <Cultural Police Substation> is a support project to help local residents enjoy various arts and culture programs by rehabilitating the unused Community Security Centers as a space for arts and culture education. Last June, the Seoul Gangbuk Cultural Police Substation was opened as the first Cultural Police Substation, and eight other Cultural Police Substations including Jeonju, Yeosu, and Chuncheon opened additionally in December of the same year.

Bo Nui Lee_Arts Instructor on theatre Met with participants through arts and culture education in various fields including, Creative Theatre Experience Class at the Sewall Elementary School, Yeoncheon Eco+Theater Dream School, Theater Class for Migrant Youth, etc. Participated in 2014 International Arts and Culture Education Practice Manual Development Demonstration Project in Indonesia, and 2015 Overseas Visit Survey for Mediators of Arts and Culture Education (Philadelphia, USA).

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Arts is a right that society members should enjoy equally and democratically Interview with education instructors of ‘TAT Lab’

From July 31 to August 5, ArtE Academy’s International Arts Education Training Program with 'Teaching Artist Training Lab' (hereafter, TAT Lab Program) for the second half of the year was held at the Halla Human Resources Development Center. Although this training was conducted as a three-day workshop for each of the first and second rounds, separately with different participants, the original TAT Lab program last for eight months as a whole. In addition to three intensive workshops, there are group activities such as telephone counseling, individual study planning (field work), and onthe-job training in between workshops. This is a unique feature of TAT Lab, different from most of other short-term intensive capacity building programs for arts instructors. The purpose of such program composition is to have enough time for the arts instructors to educate themselves, to reflect their activities, and to design and implement educational programs. It is the point where the TAT Lab concerns on regarding the continuous development of arts instructors. Another interesting aspect of the TAT Lab is that there are three partner organizations (The Washington State Arts Commission, Washington State Office of Superintendent of Public Instruction•OSPI, and the Seattle Children's Theater), engaged in this program. The three organizations work closely together in designing specific program contents, not only in budget composition and cooperation, but also in conducting workshops to persuade school stakeholders and parents on the values of arts education and seek ways to cooperate with schools. Their activities became curious on how they consist of the values and philosophy of arts education they themselves express, from institutional cooperation and program operation. The interview ended without even completing half of the questions prepared, though it already started with a long questionnaire that was impossible to digest in a limited amount of time. However, as slightly different opinions of the four people were added to each question, it helped understanding not only the TAT Lab itself, but also their strong partnership. Here are the stories of Karen Sharp (Managing Director, Seattle Children’s Theatre), Lisa Jaret (Program Manager, Arts in Education, Washington State Arts Commission), Kayti Bouljon (Teaching Artist, Pacific Northwest Ballet), Tina LaPadula (Arts instructor on Theater), who were all different in age, fields of expertise and affiliated institutions, but looked like sisters with different characteristics.

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‘Partnership’ that creates a positive direction through difference The TAT Lab is very well-structured as a program for teaching artists. When did the program initiate, what process was taken to form such system, and were there were any difficulties in doing so? Lisa The Washington TAT Lab started since 2011. Education managers of the Denver Center for the Performing Arts, The Washington D.C. Shakespeare Theatre Company, and the Seattle Repertory Theatre worked together to create a capacity building training program for teaching artists. From 2006 to 2009, the program run by cooperation of the three theaters participated not only in theater but also in various arts fields. Participants said that they wish there was a precedent (a reference model). However, after receiving feedback that continuous participation and trials led to self-learning how to proceed arts education more effectively, and with experiences accumulating, we were able to attempt expansion of the program afterwards. Program objectives were in directions toward reinforcing partnership with public education, by increasing the training period and the number of meetings with participants, expanding from the preexisting two-day intensive workshop method. Formative assessment system was the main focus in terms of designing the education program. Expanding and constructing the program from such a small model into a larger size, there came the issue of limitation in budget. We requested funding from the (National Endowment for the Arts) and was fortunate to received support. Over the past two years in 2011 and 2012, we were able to run the TAT Lab, which targets from kindergarten through public schools (elementary, middle, and high schools), as an eight-month program like that of today. *NEA

*NEA (National Endowment for the Arts): It is an independent federal agency established by the Congress of the United States in 1965. Major activities include 'Art Works' that helps creating and preserving artwork; 'Challenge America Fast-Track', a support project for the underprivileged and local communities; and 'Our Town-Creative Place making' project to support citizens’ participation in arts.

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Kayti The TAT Lab has advantages, disadvantages, weaknesses and strengths because it operates upon the cooperation among various institutions. To start with the advantage, respective philosophies and approaches can lead towards a more positive direction, since people affiliated in different institutions work together. The difficulty is that there are time constraints due to such difference in affiliations and regional areas. Thus, it is very important to find suitable members with competency. The success and failure of the program heavily depends on the strengths and merits, enthusiasm and philosophy of each of the TAT Lab’s members. This is why we still discuss and carefully recruit a replacement in situations where one of our members gets to leave the position. Karen When developing the TAT Lab program in 2011, the Seattle Children's Theater held the concept of home ground or the base of host agency. It is important to have a good understanding of what the supervisory institution’s role is, in addition to the partnership among institutions when they cooperate.

I heard that many people wish to participate in the TAT Lab. I wonder on which criteria participants are chosen to join in. Karen We deeply ponder over from the stage of participant selection, in order to elevate the efficiency and success rate of the program. Participants are selected based on the results of evaluation scores of application forms collected from teaching artists who wish to participate. Lisa To elaborate a little further on the selection criteria, first, we look at their career path as a teaching artist. Experience is crucial for understanding and sharing the contents we try to deliver. Next, we look at what the applicant described about the topic we proposed. Specifically, we look into how they explain their answers to questions such as ‘how did you become interested in the TAT Lab?’, ‘do you have any plans to develop as a teaching artist in the future?’, ‘what are effective examples or experiences as a teaching artist?’, so that we can understand their philosophy as a teaching artist. Seeing what kind of background they have as a teaching artist or as an educator is important information for us to understand the applicant who wish to participate in the program. Then the applicants are asked to send a copy of a sample education plan. We confirm that the applicant is an adequate person for the TAT Lab by screening all such factors. In addition, efforts are made for people from various racial, regional backgrounds and artistic fields to be able to participate. Evaluation is conducted through opinion-sharing among multiple members. Every person has a different approach to learning. They start at different stages and end at different points. Learning does not end in a single program but lasts a lifetime. The starting and ending points are not important. What is important is whether there was ‘improvement’ or ‘development’. Kayti Lab refers to laboratory. The TAT Lab tries to serve as a laboratory for teaching artists. So, we intentionally run the program into a direction where people with different career paths can go along together. In the process, participants will learn not only from the instructors but also from their peers. In addition, opportunities are made for participants to make new attempts more positively as they are together with participants with various experiences.

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How to judge ‘program adaptability‘. Tina We make sure whether they are ready to participate in the program. We try to confirm their readiness of mind, or whether they are concerned over certain points. Since the TAT Lab is a process made in groupwork, it is important that you are a person who can learn and help others as well. Examination is made on whether goals are seriously set as a teaching artist, or whether there is an aim or direction for clear delivery of thoughts.

Close observation is important both for an artist or an educator Whenever artists solve problems they encounter in education fields, they get to think once more on how the philosophies, values and goals of arts and culture education plays a compass-like role and further leads to development of teaching artists. We started out with stories about values and aims of arts and culture education, but it seems that the TAT Lab itself has many worries toward ‘effective learning methods’ and ‘effective learning environments’. As this issue was also covered in the workshop, are there any differences between the environments in Korea and Washington, and the problems recognized by participants, or the methods of problemsolving? Kayti The problem related to learning environment that Washington and Korea share in common, is that students are obsessed with the thought that they have to sit all day and read books or have to say correct answers all the time, while classes are boring. Such problem can be solved by trying to give enough warm-up time for students to get away from this obsession, when proceeding through the actual program. It is also one of the common challenges faced by teaching artists in Korea and Washington, who often point out that 'students are not actively participating'. Karen It was surprising to find how Korea and Washington share so many similarities. The ‘bullying’ issue in Korean classrooms are also found here in Washington. I heard that Korean students have difficulties due to the 'evaluation (score)' pressure. The situation in Washington is not so different. Tina It is also a crucial issue that people cannot approach arts in a fairer way. Arts education is still perceived as something related to people of exceptional talent. However, arts education is not something that only famous pianists, ballerinas and ballerinos needs. Learning and enjoying arts is a democratic and equal right for all members of the society to enjoy.

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The TAT Lab emphasizes 'Formative Assessment Checkpoint'. It introduces the importance of measuring what has improved up to what point, in evaluations conducted to advance learning and teaching methods. Exposing ‘growth’ and ‘improvement’, is it for the educators or the learners? Kayti Both the learners and the educators should be considered. Educators always set goals for what they will teach in the lesson for the day. For example, if you set up three goals, you are not done with it because it is over, but you must self-check on the students regarding one goal and then wait to see if you can go onto the next. Give students a chance to look back at where they are. It is an effective method for both the learners and the educators.

'Formative assessment' seems to be an activity in which students and educators share the curriculum. The evaluation scheme seems to be crucial, so how does it work? Lisa Assessment tools vary. For instance, you can use a list to check your progress, or you can take notes about the current situation. Like a diary, everyday life can be recorded as well. Formative Assessment Checkpoint is a learning method that emphasizes the 'process' rather than outcomes. If a student has to learn knowledge and skills from class, Formative Assessment Checkpoints are made with focus on the process of acquiring that knowledge and skills. Kayti The TAT Lab provides a variety of samples so that educators can look and choose methods that suits them. Lisa In addition, the educator focuses on the process of learning the skills and knowledge that students need to learn consciously at each step of the process rather than focusing on the results. Participating teachers also develop their own checkpoints as well.

It seems that evaluations must be carefully made both for the educators themselves and for the students as well. Lisa Teaching artists are both educators as well as artists. It is important for them both to pay attention to and observe the process. While proceeding, artists check on their process by questioning themselves, 'are you doing well?', or ‘should I change the method?’ The same goes for educators. As an educator, the ability of an observer is significant, since it is crucial to observe whether students are following through well. We simply systemized what always happens in arts and education through Formative Assessment.

It makes more sense as you explain it as observation. The TAT Lab seems to have made it more objectified. It does not just habitually observe, but rather reminds us that it is necessary to consciously make such efforts. Such conscious efforts are likely to lead to more careful observations on students. Tina When the Formative Assessment is proceeded, the flow of class can be interrupted due to the hesitation of educators. There was also a participant who mentioned that although the class itself is an artistic work that needs smooth flows without interruption, the assessment seems to get in the way. However, after introducing this method, I found that the work efficiency gets better as an educator as well as the academic achievement of students getting higher. It looks like that the formative assessment can be regarded as a part of class rather than as an additional task. For example, if you are running a music composition class, there must be some time to share and evaluate works of your students.

Importance of arts education in public education The TAT Lab focuses on arts education in public education, which is why it seems that Washington State Arts Commission is one of the participating partners. Why do you put focus on such school arts education? Lastly, are there any changes in the ideology, methodology, and program of arts education due to such focus on school arts education? Lisa It is due to the philosophical reasons. The philosophy of arts education we share is that all students have the right to access arts education. All students should be given that opportunity. Several studies show that arts education is very helpful for students' sociality and learning development. Students in the wealthier class can access arts education through private tutoring, but children with economically difficult situations have no opportunity to receive such arts education unless provided through public education. Therefore, it is important that arts education is carried out in public education. Kayti In Washington State, arts is defined as a 'basic education', and its goal of education is to provide a certain level of artistic sense within the curriculum. Therefore, a program is needed to guide students that align with the curriculum objectives of the public education. Here, the TAT Lab tries to increase the level of understanding of teaching artists on schools through workshops, thereby, share the values and necessity of arts education and expected effects toward public education.

Finally, thoughts on the workshop. Please share your impression on the workshop participants and advices for teaching artists in Korea. Karen It was impressive. Participants were 100% focused and involved actively. The competence of the participants was also highly leveled. It was a worthwhile time for us to have the opportunity to share their field experiences as teaching artists in Korea. Kayti I was able to feel the participantsâ&#x20AC;&#x2122; deep trust towards the TAT Lab. All participants were passionate. Despite the language barriers, they actively raised questions and gave feedback on the contents of the workshop. The cooperative attitude among the participants was also impressive. Tina It felt like I met my kind. It was a place to confirm the bond among each other as an educator as well as an artist. There were similarities and differences, and the process of comparing and learning such features is important, which was a good time in that respect. Lisa Trust seems to have been well established with the participants. It was for this reason that collaborative work was able to proceed smoothly. It was a time where I could find more commonalities as an artist and as an educator. It took approximately two and a half days to finish the process, and considering how we took pictures altogether and shared contact information to keep in touch, the process seems to have been successful.

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Karen Sharp_Managing Director, Seattle Children’s Theatre Graduated the Goodman School of Drama at DePaul University, started lecturing at the Seattle Children’s Theatre from 1999. Joined the Seattle Children’s Theatre as staff in 2000, and currently is in charge of administrative affairs, management, operation, and budgetary managing. Currently lectures on the Arts Leadership Program at the Seattle University, and is a Visiting Professor of the Washington University, Western Washington University, DePaul University, and San Diego State University.

Lisa Jaret_Program Manager, Arts in Education, Washington State Arts Commission Majored in Humanities at the University of California, Berkeley, and received her M.A. in Nonprofit Leadership at the Seattle University. Worked as a Program Manager of Arts Education for over 20 years, and was a former Education Program Manager at the Seattle Children’s Theatre from 1992 to 2005, and a member of the literary world of teaching artists at the Americans for the Arts.

Kayti Bouljon_Teaching Artist, Pacific Northwest Ballet Majored in Dance and Public Health at the Washington University. Works as the Director of Community Education of the Pacific Northwest Ballet since 2007, after joining the Pacific Northwest Ballet in 2004. Currently lectures on Integrated Arts at the Seattle University, Washington University, and in workshops targeting teachers and arts instructors.

Tina Lapadula_Teaching Artist on Theatre Co-chair of the Association of Teaching Artist, and founder of the Seattle Teaching Artist Network. Worked as an Arts instructor on Theater for over 20 years, contributed in and presented at the American for the Arts, Teaching Artist Journal, The National Guild for Community Arts Education, etc.

Washington State Teaching Artist Training(TAT) Lab The Washington State Teaching Artist Training (TAT) Lab is a seven-month professional development program with a focus on supporting arts education as part of basic education in K-12 schools. Participants benefit from ongoing learning over seven months, individualized coaching from master Teaching Artists, connections to state and national organizations, and peer learning and reflection. The TAT Lab cohort will include up to 32 Teaching Artists, working in all artistic disciplines and all regions of Washington State.

So Yeon Kim_Theater Critic Theater Critic. Former Editor-in-Chief of [Culture News] and [weekly@ arts management]. Planned and edited the GyeongGi Cultural Foundation <Community and Art> Colloquium. Makes magazines and writes with interest in how the stage communicates with the world.

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KACES 2017 News

Inauguration of the 5th President of KACES, Hyun Mee Yang Hyun Mee Yang has been inaugurated as the 5th President of Korea Arts & Culture Education Service (hereafter, KACES). Previously an administrative practitioner as the Culture and Sports Planner of the Seoul Metropolitan Government, President Yang is an arts and culture specialist who has been active in advising and evaluating the government and private sector for a long period of time based on policy research on the field of arts and culture. In addition, her researches including, ‘The Administrative and Legal System for Culture & Arts Education Policy’, and ‘The Purpose of Enactment and Contents of the 「Support for Arts and Culture Education Act」’, contributed greatly towards setting foundations for Korean arts and culture education. With the appointment of Hyun Mee Yang as the new President, expansion of arts and culture educational values through interaction and harmony are expected, along with the enrichment of all lives of our nationals with arts and culture education.

KACES A.Library Open to the Public Last August, Korea Arts & Culture Education Service (hereafter, KACES) opened the <Arts and Culture Education information center, ‘A.Library’> to the public, including citizens, arts and culture education professionals, and university students with related majors. A.Library, with the concept of a professional library on arts and culture education, holds approximately 3,700 books, which includes domestic and foreign books of arts and culture education, textbooks, liberal arts, and cultural books. Moreover, in addition to the 3,500 publications from institutions, diverse types of materials including 550 pieces of non-book materials and over 60 types of periodicals are accessible. Through this opening, the KACES A.Library is expected to transform into an effective learning support hub that provides professional data services and academic information from both home and abroad, as well as into a space where users can enjoy more with A.Library as a platform for complex communities.

50 The Father of Teaching Artists, ‘Eric Booth’ Visit to Korea Last November, Eric Booth, an American arts education specialist, visited Korea to attend the 45th invited Korea international arts education workshop. Titled as ‘the father of the teaching artist profession’, he previously taught at Juilliard, The Kennedy Center, The Lincoln Center Institute, and etc for approximately half a century. Currently, he is leading the Lincoln Center Education’s Teaching Artist Development Labs. This year’s workshop was held in two locations, Gyeongbuk and Seoul, targeting arts instructors with over eight years of career, prospective educators of arts and culture education, and various arts and culture education-related personnel including administrators. In particular, talks were shared on the ‘excellence as a teaching artist’ for advanced practitioners. Furthermore, sessions for prospective professionals were prepared for sharing discussions on the fundamentals and attitudes of teaching artists’ activities in the ‘Becoming a 21st Century Teaching Artists: Passion and Practice’.

2017 Korea-U.K. Conference: <Creative Ageing> For two days from December 5 (Tue) to 06 (Wed) in 2017, KACES (President, Hyun Mee Yang) and the British Council Korea (Director, Martin Fryer) held the <2017 Korea-U.K. Conference: Creative Ageing> event, as part of the ‘2017-18 Korea-U.K. Mutual Exchange Year’. The <2017 Korea-U.K. Conference: Creative Ageing> was planned in order to seek friendly pathways toward an ageing society, focusing on diverse social issues such as the generation gap and increase in demented elderly population, a challenge of ‘fast-ageing society’ that both Korea and the U.K. share in common. The conference was attended by fifteen Korean arts and culture education specialists, including the culture critic Young Jik Ko, and ten British specialists including David Cutler (The Baring Foundation), who shared their countries’ present status and examples. On the second day, roundtables and workshop programs with the theme of 'flexible and creative elderly arts and culture education' was proceeded with the participation of Penny Allen (The Courtyard in Herefordshire) and Diane Amans (Dance Artist), targeting arts education mediators.

KACES Programs Related to the PyeongChang Cultural Olympiad KACES organized various arts and culture education projects to support the successful hosting of the forthcoming 'PyeongChang Cultural Olympiad' in February 2018. First, through the <Gangwon Orchestra of Dream, Embroidering the Winter of PyeongChang> program at the Gangneung Arts Center on the upcoming January 6, children of the Gangwon Orchestra of Dream will be showcasing a beautiful harmony together. Also, as part of the overseas cultural exchange program, the <One School-One Country> project and the <Arts Dream Camp> are also in progress. The <One SchoolOne Country> project has been in full swing since September 25, and in conjunction with participating countries of the PyeongChang Cultural Olympiad, various arts and culture experience programs and festival programs are currently ongoing in over 40 elementary, middle, and high schools of the Gangwon province. During February, cheering parades are scheduled, using creative works made by the participants. The <2018 PyeongChang Arts Dream Camp> will perform their result performance in Gangwon province for 7 nights and 8 days from January 6 (Sat) to 13 (Sat) in 2018, with participants of five countries including Vietnam, Malawi, Indonesia, Colombia, and Korea.

-KACES e-Newsletter Volume.8Published 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-1750-C003