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Is Korea’s arts funding system still effective?
Kim Myung-hwa
The author is a playwright and director.
As autumn settles in, artists across Korea are busy preparing for the upcoming year, drafting applications for funding and support. This season marks the time when many in the arts community begin to dream about their next projects.
The government's support for the performing arts dates back to the Kim Dae-jung administration, following the aftermath of the 1997 Asian financial crisis. The economic downturn left many theater companies struggling. While a few major groups with strong fan bases managed to stay afloat, smaller companies had to make do with little. In fact, some midlevel theater directors even pooled resources together to rent rundown basement spaces near Hyehwa-dong Rotary, repurposing them into makeshift theaters.
The introduction of public funding was a game changer. While initial resistance and criticism existed, the policy that emphasized support without interference gained traction under the subsequent Roh Moo-hyun administration. Over time, the system became more established, providing more opportunities to create and explore. New artists, more professionalized production methods and a wider range of works began to emerge. Cultural institutions, once seen as administrators, became recognized as key partners in advancing the arts.
A decade ago, the outlook seemed brighter. Experts were optimistic that with the right theater spaces, Korea's theater scene would thrive. I recall a conversation with the late Han Sang-cheol, a prominent figure in Korean theater, where we discussed that very vision.
However, the landscape has changed in recent years. Political polarization and shifts in government leadership have strained the cultural policy landscape. Artists have found themselves at odds with government officials over issues of funding and control. The approach of support without interference has given way to concerns over bureaucratic control, leaving many artists frustrated. Each time the government changes, the country's cultural policies seem to as well, swinging between progressive and conservative ideologies and creating instability.
It has been nearly a quarter of a century since the first funding systems were put in place. While short-term relief has been valuable, it is time to reflect on the broader impact of these systems and take a more holistic view of the cultural ecosystem. The need for long-term vision is urgent. We must build a stable, reliable system that can weather political shifts and provide lasting support to artists for years to come.
This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaking editor. All AI-assisted translations are reviewed and refined by our newsroom.
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By Newsroom of the Korea JoongAng DailyKim Myung-hwa
The author is a playwright and director.
As autumn settles in, artists across Korea are busy preparing for the upcoming year, drafting applications for funding and support. This season marks the time when many in the arts community begin to dream about their next projects.
The government's support for the performing arts dates back to the Kim Dae-jung administration, following the aftermath of the 1997 Asian financial crisis. The economic downturn left many theater companies struggling. While a few major groups with strong fan bases managed to stay afloat, smaller companies had to make do with little. In fact, some midlevel theater directors even pooled resources together to rent rundown basement spaces near Hyehwa-dong Rotary, repurposing them into makeshift theaters.
The introduction of public funding was a game changer. While initial resistance and criticism existed, the policy that emphasized support without interference gained traction under the subsequent Roh Moo-hyun administration. Over time, the system became more established, providing more opportunities to create and explore. New artists, more professionalized production methods and a wider range of works began to emerge. Cultural institutions, once seen as administrators, became recognized as key partners in advancing the arts.
A decade ago, the outlook seemed brighter. Experts were optimistic that with the right theater spaces, Korea's theater scene would thrive. I recall a conversation with the late Han Sang-cheol, a prominent figure in Korean theater, where we discussed that very vision.
However, the landscape has changed in recent years. Political polarization and shifts in government leadership have strained the cultural policy landscape. Artists have found themselves at odds with government officials over issues of funding and control. The approach of support without interference has given way to concerns over bureaucratic control, leaving many artists frustrated. Each time the government changes, the country's cultural policies seem to as well, swinging between progressive and conservative ideologies and creating instability.
It has been nearly a quarter of a century since the first funding systems were put in place. While short-term relief has been valuable, it is time to reflect on the broader impact of these systems and take a more holistic view of the cultural ecosystem. The need for long-term vision is urgent. We must build a stable, reliable system that can weather political shifts and provide lasting support to artists for years to come.
This article was originally written in Korean and translated by a bilingual reporter with the help of generative AI tools. It was then edited by a native English-speaking editor. All AI-assisted translations are reviewed and refined by our newsroom.