Importance of Understanding the Need to Grow Together


Importance of Understanding the Need to Grow Together
[Focus] ] [PAMS 2012] Round table Reviews 2

Roundtable sessions, a networking program for PAMS participants, were held at KB Youth Haneul Theater and National Theatre Byeolohreum Theater on October 11 and 12. Performing arts professionals from Korea and abroad shared their knowledge, experience, and opinions and networked with each other and raised awareness of subjects of their interest. Discussions from the 4 sessions are summarized below.

Round Table 3_ Support System of Private Arts & Culture Foundations




Sejun KIM Mijeong SON
Yonggu HWANG
Giwon GWON

Sejun KIM _Professor at the School of Culture and Tourism of Sookmyung Women’’s University (Korea)

Frankly speaking, private support for the arts in Korea is not transparent enough compared to the country’s public support. That is why the exact amount of private support is unknown. However, with the recent changes in the individual and corporate tax laws, everything has changed. In fact, tax benefits don’t constitute a big issue. Further changes in the tax laws will improve transparency and improve the public’s notion of making donations to the arts. In order to improve artistic support in Korea, we need to do more than just claiming how valuable cultural and artistic funding is. It is just as important for us to earn support from those who are outside the art world.

Sejun KIM is a professor at the School of Culture and Tourism of Sookmyung Women’’s University, and is currently writing a paper on the “Survey on the Current Situation of Cultural Foundations and Differentiation Strategies.”

Mijeong SON_Chief of Exhibition, Seoul Arts Center (Korea)

We must understand corporations’ perspectives and intention regarding the arts in order to propose potential benefits coming from supporting the arts. As for the trend of fundraising, in the early days, there was a high demand for ticket sponsoring whereas today, corporations increasingly prefer direct participation in sponsorship activities such as arts education programs. So, as members of arts organizations, we should not see corporations only as fundraising sources; instead, we should conduct more research on how to use our contents to communicate with them and how to understand them and empathize with them. One of the aspects of fund raising is to expand the fundraising market. Most organizations consider only major corporations in the top percentile, but corporations would want to support renowned and/or reliable organizations. Therefore, the best way to build lasting partnership is to choose corporations or funders whose values are the closest to those of your organization. Although the amount of funding could be small and it could be difficult for the funder to support your organization, it is important to instill the idea that supporting the arts is a way of growing together by means of investment.

Mijeong SON took charge of exhibition / performance planning and fundraising at Seoul Arts Center and is currently developing curriculums for educational projects conducted by the Center’s Exhibition Project Division.

Yonggu HWANG _President, Eum Story Co. (Korea)

Donation, from the perspective of a corporation, is a financial loss. Therefore, we must help corporations find a meaning of donation. Receiving donations is not only about collecting money but also about promoting organizations and their values. In that sense, the exchange of human and material resources is needed not only to collect money but also to promote an organization. Meanwhile, Korean organizations rarely have staff in charge of fundraising and it is not easy to have fundraisers. Therefore, to raise funds, organizations should start by organizing their characteristics that would contribute to promoting them rather than by hiring a fundraiser immediately.

Eum Story Co. was founded in 2011 with the goal to support the improvement of society and culture through sharing. Eum Story develops sponsorship websites for arts and culture organizations and public institutions.

Giwon GWON_Manager of the Planning and Promotion Team at Seoul Ballet Theatre (Korea)

In 2011, the public actively responded to the ballet training program for the homeless, sponsoring the program more than ever before. I think that having stories that people can relate to is more effective than simply introducing an organization to funders and promising to create high-quality works. Describing an organization with an infographic image rather than words may also be more effective in terms of visualizing the organization and helping the public better understand it. If you work with a theme or contents that are universal, you can also expand the fundraising market by reaching out for international sponsorships.

Seoul Ballet Theatre, founded in 1995, is Korea’s first private professional ballet company. The company has recently been engaging in social responsibility programs through the arts.

Round Table 4 _ Korean-French Cultural Exchange



Donghee JO Anne BAUTZ

Donghee JO_Manager of the Festival Planning Team, Seoul Foundation for Arts and Culture (Korea)

Exchange in the field of street art began in earnest in 2005. So far, Korean and French street arts groups collaborated to create three to four performances. Look at Me, a work created last year, is currently on European tour. The concept of “street art” varies from one country to another, but in most countries, an “outdoor performance” reminds the public of an ethnic and traditional one. Europe is at the forefront of modernizing the street art form whereas Korea is still in the process of developing it. Regardless of their level of development of street art, active exchange has taken place between the two countries. Indeed, exchange has been vigorous as performance groups from both countries have visited each other several times a year on the occasion of being invited to festivals. In addition, the artists from the two countries often collaborate to carry out short-term projects together. Considering this, the bilateral exchange in the area of street art seems to be active.

Seoul Foundation for Arts and Culture was established in 2003. Since then, it has launched a variety of cultural activities, such as “Seoul Street Artists” and “Seoul Spring Festival of Chamber Music.”

Anne BAUTZ_production & tour representative, CCN de Montpellier / Mathilde Monnier, (France)

I noticed at PAMS that the Korean audience knows a lot about French performances. It would also be nice to let Koreans know how the French audience is responding to Korean performances, as mutual understanding is very important to utilize our institutions, facilities, and invitation systems. Sustaining collaboration requires direct meetings between people so continuing such meetings is just as important as participating in PAMS.

The vision of Montpellier National Choreography Centre (CCN de Montpellier) is to create performances, to conduct research and to train artists while focusing on communicating with the public. Mathilda MONNIER is the current artistic director of the Centre.

Rostan CHENTOUF_Secretary General, CCN de Tours (France)

When it comes to time management, Koreans and the French have very different rhythms for creative work. Koreans work at a fast pace for a short period of time, but the French do not. Planning a project with a French partner takes at least two to three years. In fact, they are different not in how they approach their schedule or time but in how they divide their time in their work process and what they expect from it. The difference in their systems also seems to make their rhythms different.

Tours National Choreography Centre (CCN de Tours) offers a variety of performances and lectures. Thomas LEBRUN is the artistic director of the Centre.

Information on individual contributors is not included.


KAMS Knowledge and Information Team
KAMS Knowledge and Information Team
KAMS Knowledge and Information Team