J A N U A R Y 2 0 1 6 V O L . 3

ContentsKACES 10 Years04 Looking back on the past 10 years of growth and development of KACES

- Growth and development over the past decade

A Look Back on KACES 201508 Flowers of Art Blooming Along the Way

- 2015 International Arts Education Week in Busan

14 Speak to photographs from Sapa to Seoul- 2015 Korea-Vietnam Arts & Culture Education Exchange Project for Youth

‘Dajeong Dagam’

18 Going beyond Exchange into Collaboration in the Asia Region- International Symposium on Arts & Culture Education, ‘Arts and Culture

Education, Rediscovery of Regional characteristics: Asia, Tradition and Life’

KACES Interview22 Taking responsibility for growth after 10 years of performance

- Davidson L. Hepburn

Former president, the 35th session of UNESCO’s General Conference

Dear Readers

Welcome to the third issue of the KACES e-Newsletter!KACES is one of the leading organizations for arts and cultural education in Korea established in 2005, which has grown rapidly and drawn more global attention since ‘2010 World Conference on Arts Education’ in Seoul, Korea.We have shared ideas about effective policies and programs for arts and cultural education, and a part of these efforts has resulted in our quarterly KACES e-Newsletter. You will find some of the diverse and dynamic arts and cultural education scenes in Korea and beyond, focusing on those that are implemented by KACES.We hope this e-Newsletter will help you to better understand KACES and the activities and lead to possible collaboration in the future. Please do not hesitate to contact us if you have any questions or comments at all.Thank you for your interest and continued support.

Sincerely,KACES Communications & Public Affairs Team

KACES Message

LOOKING BACK ON THE PAST 10 YEARS OF GROWTH

AND DEVELOPMENT OF KACES

- GROWTH AND DEVELOPMENT OVER THE PAST DECADE

The 10th anniversary of Korea Arts & Culture Education Service (KACES)!

What happened in its 10 years of history? We often use the term “decade” when we summarize events happened during a certain period of the past. Then what is the best way to objectively describe the changes in and

growth of arts and culture education over the past decade? Some events must have been enjoyable, joyful and rewarding while others might have been difficult and sometimes

disappointing. From here, we’d like to share with you such a numerous moments over the past 10 years with figures and numbers.

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KACES 10 Years

From 2003 to 2005,The seeds of policy support for arts and culture education being planted

It was back in 2003 when discourse about policy support for arts and culture education began in earnest.In February 2005, KACES started its business, and the 「Support for Arts and Culture Education Act」was enacted in December of the same year, completing the system for promoting arts and culture education.

On June 30 2006, the 「Support for Arts and Culture Education Act」 was enforcedOn Aug 8 2006, Korea Arts & Culture Education Service (KACES) was renewed to a foundation with special status.

KACES was established as a juridical foundation according to the Civil Law in February 2005. However, its status was changed into a special foundation on August 2006 in accordance with Article 10 of the 「Support for Arts and Culture Education Act」 which was enforced in June 2006. Since then, every August 8th is celebrated Korea Arts & Culture Education Service (KACES)’s anniversary. In the beginning, KACES started with only 5 teams consisting of the School Education Support Team, the Social Education Support Team, the Human Development Team, the Planning and PR Team and the Management Support Team. Also, the number of workers merely stood at 12. However, it has grown into a more systematic organization with nine teams under the Division of Arts and Creativity, the Division of Partnerships and Collaborations and the Division of Initiatives and Resources

In 2009, the Ministry of Education earmarked budget for 16 municipal and provincial offices of educationIn 2011, the designation of 16 regional arts and culture education support centers were completed

The purpose of policies for arts and culture education is for society members to enjoy arts and culture, promote their creativity and reinforce cultural competencies of individuals and the state. As such, by cooperating with government agencies and local governments, KACES has been trying to expand opportunities for members of the society to understand and enjoy their fundamental cultural rights as well as communicate with each other through arts and culture education.

KACES collaborated with the Ministry of Education to establish the 「Comprehensive Plan to Invigorate Arts and Culture Education」 in 2004. In the following year, KACES cooperated with the Ministry of Justice on projects for providing arts and culture education to inmates in correctional facilities and to youths in juvenile detention center schools, and worked with the Ministry of National Defense on projects for supporting arts and culture education in the military. Furthermore, KACES joined hands with the Ministry of Labor in 2007 to push ahead with a project for recruiting narrators for children in museums as an inter-agency social employment project. Especially since 2009, thanks to the budget allocated for 16 municipal and provincial offices of education, the number of projects supporting elementary and middle school teaching artists has rapidly increased. KACES carried out joint projects with the Ministry of Justice on supporting projects for people with diverse backgrounds. The following year, the organization cooperated with the Ministry of Trade and Industry – now the Ministry of Trade, Industry and Energy— on the project supporting arts and culture education for workers. These joint projects which were initiated from the collaboration with central ministries gradually moved to other regions as well, and KACES designated 16 regional arts and culture education support centers. Cases in point are: the project for supporting arts and culture education in community child centers with the Ministry of Health and Welfare in 2012; the project to support arts and culture education in juvenile delinquency prevention center with the Ministry of Gender Equality and Family in 2013, and the project for supporting arts and culture education for North Korean defectors with the Ministry of Unification in 2014.

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in 2013 to contribute to ‘spreading the value of arts and culture education as sustainable development education’ in the global community, aims at enhancing humanitarian and universal values with the provision of arts and culture education that respects diverse culture, aligning with the fundamental objectives of ODA. The Lao Cai, Vietnam project, designed as a five year plan and which is now in progress, will continue through the year 2017.The most basic indicators showing the overall growth in this field are the number of projects, how many people are involved and the scale of budgets. In 2005, starting with the budget of KRW 8.84 billion and total five projects including a project to support arts and culture education in schools, a project to support arts and culture education in communities, a project for developing human resources, the budget increased over 13 times to KRW 115.224 billion and the number of projects rose to 30 in 10 years. In addition, as part of an effort to build the human resource development system to nurture talented professionals in arts and culture education, KACES has been supporting and training school and community arts teachers and instructors, reinforcing the competencies of working-level staff and officials, fostering learning community and planning internship programs and operating the arts and culture educator qualification system. Among them, arts teachers, who are the key manpower of arts and culture education, tripled from 1,861 in 2005 to 6,195 in 2014. The law revised in 2012 stipulates the qualifications for arts and culture education professionals and activity areas, and the ‘Arts and Culture Educator Instructor Certificate System (ACEI)’ was introduced where 5,586 people were recognized as qualified arts teachers and instructors from 2013 to the end of December 2014.So far, between 2005 and 2014, school arts and culture education programs have engaged with 75,086 schools, 32,052 teaching artists and 15,452,016 participants. When it comes to community arts and culture education, the total number of institutions, teaching artists, and participants during the same period stood at 8,363; 7,412; and 324,648 respectively.

In 2010 the 2nd World Conference on Arts Education was held in Korea.In 2011 the 36th UNESCO General Conference unanimously adopted the ‘Seoul Agenda.’

In addition, KACES has been working hard for the international network cooperation for global arts and culture education not only in the U.S. and Europe, but also in South America, Central and Southeast Asia.In 2005 when KACES was founded, the organization hosted the ‘UNESCO World Conference on Arts Education Asia-Pacific Region Preparatory Meeting.’ In 2006 KACES attended the ‘2006 UNESCO World Conference on Arts Education’ as a Korean representative and participated in the creation of the 「Arts Education

2012

2013

2015

2014

Roadmap」. All these are reflecting our effort to actively create networks with experts around the world.On this basis, KACES hosted the 2nd World Conference on Arts Education in Korea in May 2010. Encouraged by the successful hosting of this event, KACES proposed the ‘Seoul Agenda: Goals for the Development of Arts Education.’ The ‘Seoul Agenda’ was unanimously adopted in 2011 at the 36th UNESCO General Conference, where the ‘The International Arts Education Week’ was announced.Meanwhile, the Arts and Culture Education Official Development Assistance (ODA) project, which started

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Written by Sang-sang Playground

The number of participants from arts and culture education increased to more than 2.6 million in 2014.

Then how many participants of arts and culture education have been newly added over the past decade? Between 2005 and 2007, the approximate number of participants was one million. In comparison, the number of participants rose to 2.64 million in 2014, which means the number of total participants increased more than 8-fold. In 2009, in particular, as projects supporting elementary and middle school art teachers were expanded significantly, the number of participants increased immensely as well to over 1.57 million. Meanwhile, in 2012 when the Five-Day School Week System was implemented in elementary, middle and high schools nationwide, arts and culture education programs have become much more important as they help children and families enjoy the increased leisure time. Indeed, over 1.98 million people benefited from arts and culture education. Considering the changing educational environment that emphasizes students’ creativity, newly introduced system of Free Semester, and the need to solve social problems arising from aging and diverse society, arts and culture education has never been more important. As such, it is expected that by introducing proper system

in line with these changing needs and environment, our arts and culture education will grow further in a way that can provide all citizens from ‘children to the elderly’ with more opportunities to enjoy arts and culture education.The seeds of arts and culture education, which was planted 10 years ago with the foundation of KACES, are now germinating gradually. It is essential to carefully check whether the soil is fertile enough or whether there is any overgrown branch interrupting the growth of other parts. Also, you have to make sure the sprouts get sufficient water and sunlight. This way, not only will the roots become stronger, but new stems, leaves, flowers, and fruits will grow. What is most valuable is not visible to your eyes. Thus, the insight with which to see the value and power of arts and culture education is needed right now. It is the time for teaching artists, school and agency officials, organizations for arts and culture education, researchers and policy consultants brain storm and plan our next 10 years.

Projects2005

5

30

2014 2005

8,840,000,000

115,224,000,000

2014Budgets

1,861

6,195

Number of teaching artists

2005 2014

Organization and manpower

organization systematization

The roster increased 3.5 times.

5 Teams in 2005 3 Divisions,1 Office, 9 Teams and 1 Center in 2015

12 in 2005 43 in 2015

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In 2015, KACES worked relentlessly for arts and culture education in Korea and beyond

Let’s take stock of monumental moments of 2015

L Joo Seong-hye, The presi-dent of Korea Arts & Culture Education Service, making an opening speech

R The performance of ‘Flower-Middle School Students’

Opening ceremony - ‘Garden of Mind’

On May 26, the opening ceremony of 2015 International Arts Education Week ‘Garden of Mind’ was held in the Beyond Garage, which used to be a decades -old rice warehouse but now transformed into a cultural space. Starting with the performance of Modern Table (Contemporary dance company) and ELAS (Woodwind ensemble), Davidson Hepburn (Former chairman of the UNESCO General Conference) delivered an opening speech, and Mrs. Kim Sam-soon played the Danso (Korean traditional bamboo flute). Such an unique opening event, different from the traditional form of opening ceremony, gave participants an opportunity to enjoy and share all the more the value of arts and culture education.

Flowers of Art Blooming Along the Way 2015 International Arts Education

Week in BUSAN‘2015 International Arts Education Week’ was held in Busan,

Gyeongsang area between May 26 and 30. It was the first time this event was held in Busan, but it was a successful festival where not only local residents

but also all citizens around the world shared and talked about the purpose and meanings of the’ International Arts Education Week’.

A Look Back on KACES 2015

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KACES 2015

L The Danso performance of Mrs. Kim Sam-SoonR Davidson Hepburn, former chairman of the UNESCO

General Conference, dancing with ‘Modern Table’

L Moving Mind Darakcha @ Sewall Elementary School , Yangpyeong , Gyeonggi-do

R Moving Mind Darakcha @ Miro Market, Seo-dong, Busan

U Up

D Down

L Left

R Right

Arts & Culture Education Truck, ‘Moving Mind Darakcha’

‘Moving Mind Darakcha’ is a truck loaded with the 10 years of performances in arts and culture education and experience workshop programs. The “Family is Flower” campaign, which encourages citizens including children, teenagers, parents and workers to sincerely communicate with each other, also provided them with onsite arts and culture education through workshop programs. It departed from Seoul on May 11, went through Gyeonggi-do (Yangpyeong), Gangwon (Wonju), Daejeon, Busan, Jeolla-bukdo, Gyeongsag-namdo, Daegu, Gyeongsang-bukdo and Ulsan, and arrived in Busan, which was the final stop as well as the starting point of 2015 International Arts Education Week.

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Special programs of the Arts and culture Education Support Centers of the Gyeongsang region

2015 International Arts Education Week was held in regions other than Seoul or Metropolitan areas for the first time this year, and we joined hands with the Arts and culture Education Support Centers of the Gyeongsang region, the venue of this event, to plan and implement special programs. At the Arts and culture Education Support Centers located in different regions, citizens can get access to various programs containing local stories.

L Busan: Cultural Madang with citizens ‘Crane dance and humanities’ @Busan Citizens ParkR Daegu: ‘2015 International Arts Education Week in Daegu’ @Daegu Beomeo Station Beomeo Art Street

L Play with Artists: Flowering Rainstick R Play with Artists: Mastering movie making

in a day

Various Experience Programs

“Playing with Artists” is an arts and culture education experience program for artists in various fields, citizens including children. In Jungang-dong, Jung-gu, Seo-dong, Geumjeong-gu and Woo-dong, Haewoondae-gu, children and adults exchanged various artistic experiences with many artists through diverse programs including the ‘Sound Sketch’, ‘the Ship that can Express Feelings’ and ‘A Three Minute Movie I Make’. In addition, a variety of programs were offered such as ‘Slow-walking Oncheoncheon,’ the experience workshop program for families, or ‘Artistic Lines of the Sea,’ the special workshop with merchants in the Miro Market in Seo-dong and ‘The 10-year-old’s Video Festival,’ containing the stories of 10-year-old children, commemorating 10th anniversary of the enactment of 「Support for Arts and Culture Education Act」 and the foundation of Korea Arts & Culture Education Service.

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L Play with Artists: As If R Play with Artists: Busan is the eternal

harbor – Steadfast Mind

U The 10-year-old's Video FestivalD Slow-walking Oncheoncheon

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L Talking with ArtistsR Teaching artists’ Garden

U Mind TableD Youth, Run along the Flower Lane

The Expert Participation Programs

A wide range of programs engaging with art instructors and professionals in various fields were provided: the international symposium which examines Asian arts and culture education; the arts and culture education forum on the subject of regional arts and culture education; the youth planner project ‘Youth, Run along the Flower Lane,’ the art experience program planned by art teachers ‘Teaching Artist’s Garden,’ and the small scale round table ‘Mind Table.’

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U Awards ceremony for contributors of arts and culture educationD Outcomes of the 2015 International Arts Education Week on

display

Closing ceremony – “Mind, Opens the Flower Lane”

The closing ceremony, which announced the end of the 2015 International Arts Education Week and promised to return in 2016, was held on May 30 in the measurement room of the Yachting Center on the Suyeong Bay. A variety of artworks during the workshop created by children, citizens and artists over a week were put on display, and the itinerary of the ‘Moving Mind Darakcha’ as well as the results of the weekly events were shared. In particular, it was a significant part of this festival in that the contributors to arts and culture education were awarded.

Written by Sang-sang Playground

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2015 Korea-Vietnam Arts & Culture Education Exchange Project for Youth ‘Dajeong Dagam’

Speak to photographs from Sapa to Seoul

Since 2013 as part of the Arts and Culture Education ODA (Official Development Assistance) project, KACES has been running the arts and culture education

programs in the Lao Cai College of Education and elementary and middle schools in Sapa, the mountainous area in the Northeastern part of Vietnam.

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KACES 2015

Three years have passed, and some youths from Sapa were invited and given an opportunity for cultural exchange from July 22 to 30 2015 in Seoul and Siheung (Gyeonggi-do Province). The title of the project was “Dajeong Dagam: 多情多感,” which has the same pronunciation in Korean and Vietnamese, meaning ‘friendly and affectionate.’ It was an arts education program in which youths take an active part from planning to exhibition based on group activities and teamwork. Through various group and cooperative activities, they were able to acknowledge diversity and differences, as well as enhance their understanding and interest in each other’s culture.

A total of 30 young students, including 10 Vietnamese youths, who arrived in Siheung 27 hours after they left Lao Cai, and 20 teenagers living in multicultural and mono-cultural families in Siheung, engaged in various activities allowing them to get used to story-telling through artistic stimuli with artists. They were engaged in play activities with artists Ok Jeong-ho and Jang Geun-beom to awaken the senses of the body and mind, and also to get to know each other and form a friendly relationship. Along with this, they discovered the city by visiting the studios of artists, appreciating the exhibitions at the Ara Art center and the National Museum of Modern and Contemporary Art in Seoul, and learned on the sites about diverse methods of expressing their discoveries through exhibitions.

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From planning to exhibition

The exhibition consisted of four sections, i.e. ‘Memories of Sapa,’ ‘Dajeong Dagam,’ ‘Moments of Exchange’ and ‘Round Table.’ The combined exhibition of Korean and Vietnamese youths, ‘Dajeong Dagam,’ caught the eyes of the audience. The story of architecture was extended to the story of Seoul, in which participants made a model of Mt. Namsan at the center, and decorated the surrounding area with the past and present images of traditional palaces. For example, the models of Namsan Tower and Hanok(traditional Korean-style houses) were made and pasted on it to make pop-up effects. Having visited traditional Korean market, the Gwangjang, the Pyeonghwa and Cheonggyecheon, they made mini structures that looked somewhat like a real gate or a store, and filled in it with the photographs of diverse facial expressions of merchants working in the market along with the colorful products on the display stands. The scenery team, put up a huge picture of a tree, and made a cave in the base of the tree to make a room which would be a good place as a hide-out. They also made a globe and meticulously put photographs of all the participants on it to commemorate their meeting. The Vietnamese teenagers, who served as docents, wore their traditional costume, Ao Dai, and partnered with their Korean counterparts to explain the exhibition. One spectator who was a parent of one of participants became very emotional after seeing the photographs of Vietnamese scenery along with the children’s works and said, “I am glad that I can show my country to my child and pleased to see my child get along with his friends.”‘Memories of Sapa’ displayed the works that were made in Sapa during the past three years. The pictures of the village map which was finished after 2 years of hard work, was made with traditional fabric of an ethnic minority and was filled with the drawings and photographs of memorable places. They looked worried at first, but they thanked students later for listening attentively to their stories. They said that was the happiest moment for them.

Bùi Ánh Nguyệt, 1st year high school student, who took classes of Korean artists and made a Korean name, recorded the story of the ethnic minority, the H’Mong people’s lives in his photographs. The title was <Yongsoo and the H’Mong people>. “When Korean teachers came, I was 3rd grade in middle school and when I was asked in class what my dream was, I said ‘Reporter’ without hesitation. That was my childhood dream. While studying photography, I learned how to talk with people. Since then, I have taken photographs of many people, talked and become friends with them, and I have written messages a lot as well. I learned not only how to take photographs, but also how to deliver messages of those photographs well.”Artist Jang Geun-beom, who has participated in this program since 2013 and planned this project, said the result is as equally important as the process to the children. It is because they made those artworks for themselves and then shared them with others. Artist Jang Geun-beom emphasized that this project should not be a one-off event, but should build up the foundation for continuous operation. That is why, in the 2nd year of this project, he gave up obsession with newness and concentrated more on forming groups and mediator education.

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“My grandmother’s morning. To start a new day, she wears warm clothes to brace herself for the cold weather. The first thing she does is to go to the kitchen and make meals for the entire family.She is a wonderful person.”

Thao Thi Phurong Thao

The Arts and Culture Education ODA can be said to be a project for reducing imbalance in welfare through arts and culture. What education and culture have in common is that they can both be affected by economic feasibility. We may not have to call it art or multi-cultural, but art is in our lives and arts and culture education will someday teach us how to embrace diversity and differences and live in harmony with the world.

Arts and Culture Education ODA (Official Development Assistance) project Once used to focus on construction, recovery from disasters and basic education, but now the horizon of ODA is being extended to respect for culture and two-way communication. Through these efforts, ODA aims to contribute to ‘spreading the value of arts and culture as sustainable development education’ in the international community. The Arts and Culture Education ODA project which started in 2013 will be continued through the year of 2017 according to a mid and long-term plan. The People’s Committee of Lao Cai, Vietnam, Korea Arts & Culture Education Service and the Vietnamese office of KOICA (Korea International Cooperation Agency) entered into a three-party MOU to create an organized cooperative system, which will be a very important foundation. Also, starting with the Korean-Vietnamese Youth Exchange Project in 2015, Korea Arts & Culture Education Service and Siheung are planning to enter into an MOU, and conduct various cooperative projects, such as making the foundation for local arts and culture education, invigorating school and social arts and culture education and stimulating arts and culture education for the underprivileged and the disabled in communities.

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Going beyond Exchange into Collaboration in the Asia Region

International Symposium on Arts & Culture Education, ‘Arts and Culture Education, Rediscovery of Regional characteristics:

Asia, Tradition and Life’

A sphere of culture beyond national borders is being created in the era of global village, and the world can be considered another concept of a region. While most countries in the world share the same perspective

on the importance of arts and culture education, the international symposium under the theme of “Arts and culture Education, Rediscovery of Regional Characteristics: Asia, Tradition and Life” was held in Busan in May during the ‘2015 International Arts Education Week.’ This event’s purpose was to promote better understanding and cooperation in this field. Also, this symposium was meaningful in that participants got to know about the current situation and major activities in the arts and education front in Asian countries,

which were rarely known to the world, and sought ways to cooperate with each other in this field.

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KACES 2015

Turning threats and challenges into new opportunities of discovery

Dr. Davidson Hepburn, (former president, the 35th session of UNESCO’s General Conference), who made

a speech on “Vision for Arts Education,” said that arts education is a complicated convergence of

various subjects, but sometimes this difficult combination may present an insight for leading social development. Also

he mentioned that art education is important in that it induces and

facilitates personal accomplishment and social investment, and that social

values, beliefs, conflicts and cultural heritages are expressed and reflected in arts. He explained, UNESCO has been encouraging the international community to exchange ideas, knowledge and implementation know-how in arts educationHe called a friendly attitude in school toward creative arts education, found in the 21st century, “the art of the 21st century.” According to him, this positive tendency is the outcome of continuous globalization and emphasis on the role of arts education as a solution to violence we are seeing across the globe. In this regard, schools and educational institutions need to provide art education continuously, which in turn, will make the future and prospects of art education even brighter.

Let’s look at the present for our future. Let’s see what we are doing now. Let’s have

new perspectives so that global threats and challenges can lead to discovery of talents and

creation of opportunities through arts education. A true expedition is not simply discovery, but to

have new perspectives.

Creative facilitators with a good character, competence and knowledge

Egbert Wits, who introduced the arts and culture education programs of Indonesia’s KELOLA Foundation under the title of ‘Enhancing the vitality of Indonesian Arts and Culture,’ said it was a pity that the Indonesian government showed little support and interest in arts education. He said that in order to invigorate Indonesia’s arts and culture education, they are receiving more support from individuals, foundations and corporations such as the World Bank, the Ford Foundation, the Asia Cultural Committee and UNESCO-Aschberg Scholarship Foundation than from its government. According to him, this large sponsorship base was possible because they had systematic and organized program preparation processes and had carefully listened to what artists needed at the moment.

As a result, more than 4,000 artists received support from the KELOLA Foundation so far, and they are

running an internship program for reinforcing the competency of artists, the innovative

performing arts support program, a program for female artists, the

drama education program for the underprivileged like workers and

farmers and the creative community program that uses visual and dramatic

elements to help teenagers better understand local communities. The skills required of arts

education mediators who run these arts education programs are called the ‘Creative Facilitation Skills.’ They consist of characters represented by humility, perseverance and attentive listening, the ability to draw out the potential of people, and knowledge on education. Without good character, they cannot get along with people, and without competency they cannot implement arts education, and without knowledge, education cannot be effective. In Indonesia, they are referred to as ‘facilitators,’ and although the terms and meanings and their roles may differ, it was possible to realize that the traits required of people working in the field to promote arts and culture education are pretty similar.

Creative Facilitation = Effective Facilitation

Personality

Knowledges Skills

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Historical experience emphasizing the democratization and decentralization of art

Eva Salvador, head of the Department of Arts Education in the Cultural Center of the Philippines, who made a presentation under the theme of “Arts education: Art matters to the lives of Filipinos,” began her speech by talking about the modern and contemporary history of the Philippines. Under the Martial Law in the 1970’s and the 1980’s, only specific classes benefited from arts education, but as it was the age of resistance art at the same time, many Philippine artists shared their art experience with one another, and grew together. The Cultural Center of the Philippines, which supports the fostering of outstanding artists and arts education, has been focusing on the democratization and decentralization of arts since the Philippine Revolution of 1986. Today, it is still in active operation despite economic difficulties and repressive political circumstances.

There are four departments in the Cultural Center of the Philippines related to arts education: the Department of Arts Education, the Department of Spectator Development, the Department of Artists Development and the Department of Culture Management. The ‘spectator’ of the Department of Spectator Development includes art experts, researchers, local field activists and the private and public sector as well as students who are generally considered participants of arts education. What’s interesting is that the series of lectures offered here and education tours are not just for students and teachers, but also for parliamentary members and employees of the parliament. As the demonstrations and persuasions to secure budgets are quite successful, they have become friendly, reliable forces.

Arts education fostering cultural diversity and identity

Indian-Malaysian, Dr. Joseph Gonzales, dean of the Faculty of Dance, the National Academy of Arts, Culture and Heritage (ASWARA) introduced traditional arts education in Malaysia under the theme of “Maintaining the connectivity between the Modern Society and ‘Makyung’, one of the traditional Malaysian Dances.” The coexistence of various cultures in Malaysia is very advantageous in that it can broaden and deepen the understanding of cultures. This is because growing with multiple cultures enriches life. According to him, however, what is unfortunate is that there are regional conflicts between different races and tribes due to internal political situations, and many underprivileged groups are created in society, and these side effects are affecting the

world of performing arts, and explained the possibility of overcoming them through arts

and culture education.

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A future that the private and public sectors make together

Lastly, Shri Kalyan Kumar Chakravarty, former president of India’s Lalit Kala Akademi, talked about the future direction of Asian arts education. This Indian scholar, who worked in the private sector, the public sector and academics, explained the theory of arts education for building a person’s holistic character. “First, arts education is not a privilege for the talented few, but a universal right given to all. Second, we must draw diverse intellect. Third, we must seek balanced cognitive and emotional development, and promote the creative industry for social and economical development. Fourth, in relation to this, partnership with all stakeholders must be formed. Fifth, we must develop the information bank for accumulating the data and knowledge related to arts education.”

As an example of ‘demuseumization’ related to regional arts and culture education, he introduced the Museum of Mankind in Bhopal, India, and delivered an awakening message to the officials of public agencies. He emphasized that the public cultural institutions should not build the infrastructure ‘for’ the region, but work ‘with’ the local residents. He added that through the Museum of Mankind Construction project, diverse talents and creative energy of the local residents further invigorated government officials

Foundation of cooperation for Asian arts and culture education

After the introductory presentation, there were discussions about cooperation among Asian countries for richer and sustainable development. Participants voiced a variety of opinions. Some of them were that we must lay down the foundation for online exchange; continuous communication among arts education support organizations through regular meetings is important; there must be cooperation in mediator education by sharing the methods of reinforcing the competency of arts educators; it is necessary that arts education mediators should exchange competencies through arts educator communities and culture and there must be an international coalition for arts education. Meanwhile, there were other opinions stating that it is necessary to include arts education in art festivals and art-oriented events and remind people of its importance; securing funds for arts education is important although it may be difficult; and also Asian countries can cooperate with one another in researches analyzing the long-term effects of arts education.

The biggest outcome of this international symposium was a consensus formed among different countries about the importance of arts education and the necessity of its promotion and their cooperation. On this basis, it is hoped, Asian countries will be able to deepen and diversify their continuous exchanges regarding arts and culture education.

Cooperation with art-related institutions is important because of the synergies of arts,

and the factional barriers among diverse areas of arts, e.g. visual arts, performing arts and

traditional arts, must be torn down.

Written by Lee Da-hyunLink to 2015 KACES International Symposium materials (Kor/Eng)

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Davidson L. Hepburn Former president, the 35th session of UNESCO’s General Conference

Taking responsibility for growth after 10 years of performance

As many people may already know, Korea played a leading role in the birth of the UNESCO International Arts Education Week. At the 36th UNESCO General Conference, held in the

UNESCO head office in Paris, France in November 2011, the ‘Seoul Agenda: Arts Education Development Goal,’ proposed by the Korean Government, was unanimously adopted, and

the fourth week of May every year was declared as the ‘International Arts Education Week.’ Davidson Hepburn, former chairman of the UNESCO General Conference visited Korea again

in 4 years to give a congratulatory speech at the opening ceremony of the weekly event and gave a presentation at the international symposium.

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KACES Interview

Over 20 years of his career, he was in responsible positions in international organizations like the UN and UNESCO for over 15 years. He is now 80 years old and still firmly believes in the power of arts education to change local communities. He is working passionately with this belief. I met this ‘gentleman from the Caribbean Sea’ who stated he likes Korea very much except that it takes more than 13 hours of flight to come.

Is there anything in particular you remember about the day the 36th UNESCO General

Conference where the International Arts Education Week was declared?

At the 2011 UNESCO General Conference, we adopted something very important. It was none

other than the International Arts Education Week. At that time arts education was not regarded as essential, but I remember that it was received so well by many countries around the world that the decision was unanimous. I think many people came to accept the idea and concept of arts education. Teachers became more aware of how to approach arts education, and eventually many people agreed that the International Arts Education Week would help children experience arts education.It’s been four years since I last visited Korea.

As a country that led to the adoption of the International Arts Education Week, Korea

has been holding various events every year, and particularly this year key events are held in an area outside of Seoul (the capital city of Korea). What is your expectation about such local events?

KACES holds the international symposium in Busan, and I

felt really honored when I was asked to give a speech here. So, without a moment of hesitation, I accepted the invitation. Since the adoption of the ‘Seoul Agenda’ in 2011, a lot of things have happened. This visit was a valuable opportunity to hear what other countries think of art education and compare their thoughts.

Since it is the first time to host this event in the province, I understand you wondered if it would be successful. But I thought it would be very successful myself. People in plays often say, “Nobody knows what will happen until it is staged.” The only thing we can do is to put together a program and focus on doing the best we can.

I live in the Bahamas now. There, I am witnessing the development of arts education. Previously, people did not ask many questions about arts. But now all types of arts including performing arts and visual arts, are growing so fast that children are now able to better express themselves. Particularly in Korea, I am sure that the efforts of KACES have been the driving force behind the growth of arts education in Korea. KACES is actively carrying out the arts and culture education support policy jointly with the government, and never forgets the concept and importance of arts education. I’d like to say that it is very encouraging and KACES is doing a wonderful job.

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At the international symposium you made a speech on ‘The Vision of Arts Education.’

Please describe it briefly.

I have been thinking hard about how to organize my thoughts deliver them in a way to capture the

audience. For starters, I tried to talk about arts education, and then about the current status of the discussions taking place in the Bahamas, and lastly about the important areas in understanding arts, that is, museums, art museums, climate change and migration. The special message I wanted to deliver, i.e. ‘The Vision of Arts Education,’ is an approach to these problems with a new perspective on arts. I thought it would be necessary to remind people of the problems of the relationship between arts and local communities, which is very important, but overlooked.

You worked as a diplomat for a long time. I am sure that arts and culture

education was a completely new ball game.

A long time ago my dream was to become a teacher. Having majored in the Humanities, and studied

Language and Philosophy, I wanted to play the role of letting people know how arts are expressed and created, not just performing arts like dramas, but also visual arts. But then my experience as a diplomat proved to be of service. I say this because the attitude of diplomats is different from ordinary citizens in some respect. I was not very political or induced conflicts or fights between governments, but I think I served as a mediator or arbitrator. In this sense, what I studied proved to be useful and shifting my interest to arts was not difficult at all.

I heard that you are working on ‘Creative Nassau’ in the Bahamas.

I think it is a project for making a more abundant city of arts and culture by connecting to culture or arts education.

For the economy to truly develop, I believe it should start with understanding its members,

i.e. citizens, well. It is important for youths to understand what kind of cultural heritages there are along with what kind of cultural traces there are in the region they are living in. The Bahamas have a few natural resources. They have straws and tropical and subtropical plants. I came to think about making good use of them, and I told people that we should not be too weighted towards tourism. The tourist attractions in Nassau, Bahamas used to import cheap imported souvenirs or relics. I thought of using ‘Creative Nassau’ to connect to education, find our unique styles and make products we can share with tourists.

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Dr. Davidson L HepburnDr. Hepburn was born in a small town in the Bahamas called New Bight in 1932. He earned his master’s degree in the English literature and the PhD in Comparative Literature in the U.S.

and Spain respectively, and graduated from the Institute of International Relations in Geneva, Switzerland. He served as a diplomat for over 20 years and nearly half of those years as an ambassador

to the U.N. In 1995, he received the French Chevalier du Legion d’honneur, and in 2008 OBE (Officer of Order of the British Empire). He was elected as the Chairman of the 35th UNESCO General Conference and served in that capacity for 2 years. Dr. Hepburn is the former chairman of AMMC (Antiquities, Monuments & Museums Cooperation), and published his first novel, 『The Short Happy Life of Alexander Mann』 in February 2015. Currently, He resides in Nassau, Bahamas with his spouse and proud to be the grandfather of two wonderful grandchildren.

Korea celebrates the 10th anniversary of the enactment of the Support

for Arts and Culture Education Act and the foundation of Korea Arts & Culture Education Service. Now that we are preparing for the next 10 years of arts and culture education, I appreciate if you give us a word of advice on how to make it more substantial and how we can take another leap forward.

What is very interesting at this point in time is that the Korean government has a great interest in the development and success

of arts and culture education. In the Bahamas, the Ministry of Education changed curriculums just now, and attention is now being paid to arts education besides English and Mathematics. I am sure this change of the government is the only way to bring about a substantial change and development of arts education. Nevertheless, more dedicated efforts to help arts education grow are needed in addition to holding this symposium. The government’s role is important, but after all, the members of society must be able to fulfill their share of responsibilities. Particularly youths must correctly understand how important the role of arts education is. As a matter of fact, arts education has multiple functions and uses in bringing people together regardless of their religious and political ideas.

Written by Nam Eun-jeong, Sang-sang PlaygroundPhotographed by Jang Young-joo, Ma-ru Studio

I thought it would be necessary to remind people of the problems of the relationship between arts and local communities, which is very important, but overlooked.

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Published by the Korea Arts & Culture Education Service76, Sangamsan-ro, Mapo-gu, Seoul, Korea, 03926 eng.arte.or.kr / kaces@arte.or.kr

Serial No. KACES-1650-C001

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-KACES e-Newsletter Volume.3-