The burden and trappings of international exchange

Speaking as a person involved in changing cultural policies by analyzing and organizing international exchanges at a systematic level—not as an activist directly conducting international exchanges—trying to create a realistic validity for the effectiveness of international cultural exchange policies and systematic support is always burdensome. This kind of concern is on par with skepticism about whether it is possible—in the current circumstancesof international exchange, where the pathway no longer exists as a hierarchical or political monopoly—to have a systematic frame to capture the various internal motivation and results. Another sensitive issue in establishing international cultural exchange policies is that it can lead to a reverse effect, in that a social atmosphere of trying to rediscover local worth through international recognition can invert the original meaning behind such an exchange. Even the term “performing arts Hallyu” includes a sense of self-worth through the recognition of others. The origins of this thought lies in the historical context of establishing and executing cultural policies in a nationalistic state as well as in the actions of a part of the culture and arts sector that tends to follow this trend.

An article on Arts Council Korea’s announcement of its five-year plan (Maeil Business Newspaper, June 26th, 1972)

Korea’s modernization had a tendency to form in a biased way, in a social climate where the model of developed nations was seen as fair and effective, and the culture and arts sector was no exception to this. The hierarchical and political characteristics of Korea’s international exchange activities during the 1960s and 1970s, when there were limits to overseas activities, were quite dense. At this stage, when paths towards cultural exchanges were limited and the formation of autonomous exchanges were underdeveloped in the culture and arts sector, it was common for the government to choose the content for exchange as well as how to introduce this content. In introducing Korean culture and arts to the international community, there is an inescapable connection with local cultural policies. The “restoration and development of national culture” paradigm that was prevalent at the time was reflected in Korea’s international cultural relationships as well. With this, in the public sector, the main chunk of the support was for exchange activities centering on cultural and arts genres that featured the high quality of Korea’s traditional culture. Rather than being an exchange of mutual communication, the policy goal was to increase outside interest in Korean culture by presenting an exotic cultural identity. Strictly speaking however, every country in the world has its own culture and a singular aesthetic principle and its own way of realizing this. The problem is that when these unique cultural and artistic values become known internationally, the way of getting this recognition wasn’t through communication with those who embrace this culture and finding interactive meanings in this process. Thus, by showing what one thinks is an absolute value—instead of trying to communicate and understand through exchange—international exchange has become no more than promotion and advertisement.

Tasks for revitalizing international exchange

The direction for Korea’s policies regarding international exchange of culture and arts had been formed through a mix of official government reports, promotion, and the concept of diplomacy. The fact that international activities of national organizations or associations were not conducted in a way that materializes the essence of international cultural exchange is revealed in the fact that there aren’t many specialists or international exchange departments in these organizations. For international exchanges to be conducted thoroughly, this kind of manpower is crucial, and the organizational structure, manpower, and funds to realize this is also needed. However, the structure mentioned above does not support this kind of exchange. Cultural centers overseas are being built, and promotion and cultural diplomacy efforts are beginning in earnest. As such, although the foundation for introducing Korean culture and art overseas is starting to build up, at this stage, when Korean organizations do not have a clear vision or goal for international exchange, it is clear that maximizing the full effect of this kind of infrastructure is tough.

Bongsan talchum (traditional Korean mask dance drama) performance at Le Maison des Cultures du Monde in France

In addition, overseas Korean culture centers operate mainly to introduce Korean culture and art overseas in a passive way and act as a public gateway of sorts rather than to act as a portal for mutual exchange. Government support of the arts, which had been conducted as a means of cultural diplomacy and promotion, changed to include two different approaches to operations along with awareness of the economic benefits of culture and the arts——“interactive exchange” and “overseas expansion. ”By 2012, the number of overseas culture centers had increased to 24. Although there was this emphasis on expanding the exterior infrastructure, there were limits to expanding general international exchange for the performing arts sector, including the private sector. Rather than having a connection to a government-made infrastructure, support for international exchange in the performing arts sector relies on the role of the government (Korea Arts Management Service) and Arts Council Korea, including support for individual groups’ participation in international festivals and overseas markets; support for artists to participate in local and overseas residency programs; support for improving the competence of international exchange; support for international cooperation (production); and support for nurturing future talent in the international sector. Although there may be different arguments in clearly defining performing arts Hallyu, if we consider it firstly to be about a rise in interest in Korean performing arts, and secondly, as a rise in artistic creativity through this, the tasks below must be resolved.

- Supporting creativity for diversity
Firstly, the most important thing is to conduct policies that can make a platform for a fuller scope of creativity locally. Recently, there was the case of a rather twisted criticism regarding a famous Korean director winning the top award at a prestigious international film festival, saying that the film’s success was special because it had been made with the intention of competing at overseas film festivals. Another example is a famous foreign director saying that the specialness of Korean films lies in the difference between its vampire film, Thirst, and the Hollywood vampire film, Twilight. Although the development of the Korean film industry leaves much to be desired and hasn’t been receiving positive responseslately, and although the Korean films mentioned are not made by unknown, new directors, this just goes to prove just how important maintaining a widespread platform for creativity is in international competence. In the end, in order to maintain and develop performing arts Hallyu, we need to make it possible for the support for Korean performing arts to be deducted to this kind of platform.

- Expansion of the topography of consumption
Secondly, the performing arts ecosystem can be complete only when there is circulation between creation and consumption. This is sometimes interpreted in a negative way, in that it heightens the creation of works that reflect the tastes and likings of the public. However, when looking at the fact that a sense of place and continuing the reproduction element is important in performing arts, a performance that can’t reach the public emotionally will only turn out to become some record on paper. It also becomes important in the fact that the autochthonous and constructive know-how gained by the creator when meeting with the audience plays a crucial role in international exchange activities.

Le Maison des Cultures du Monde in France	Haus der Kulturen der Welt in Berlin

Although the quality of works is important for the landscape of consumption to expand, there needs to be support for developing more diverse tastes to prove that popular appeal is not the only connecting point in creation and consumption. Thus, there is a need to nurture the ability of current and potential audiences to have more sensibility towards diverse types of creative works and to appreciate these works. International exchange is not a one-way street, so instead of just featuring Korean performances in other countries, there also is a need for Korean audiences to be able to take in works from other countries as well. When the consistency of context and cohesion is heightened, the understanding and interactivity of the Korean audience will be heightened as well. However, fundamentally, there is a need to train the local audiences’ consistency of so that they can appreciate performance art works from various cultures in a more mutually comparable level rather than simply regard them as “exotic.” Communicating the values and problems of the same generation is possible through various mediums and platforms. However, understanding of context and change can only be achieved by being in contact with diverse views from the past to the present. Thus, improving audiences’ contextual understanding the process of translating a culture will contribute to making a balanced inbound and outbound scene. In this sense, by continuously providing various performing arts around the world, from ethnic to modern, La Maison des la Cultures du Monde in Paris, France, and the Haus der Kulturen der Welt in Berlin, Germany, are able to contribute to the horizontal and vertical expansion of international exchange among consumer audience.

- Strengthening the capability of specialist manpower
Thirdly, as mentioned in the beginning, the important thing when it comes to international exchange is internal motivation for exchange. This internal motivation—whether it lies in exporting works, artistic inspiration for instilling creative drive, or producing innovative, creative works—is the force that hauls through all stages of exchange. However, in this process, if this motivation is not backed by a system, it can’t be realized. In this sense, organizations and manpower that professionally support and conduct international exchange in state-run and public cultural arts institutions are the very basic element for international exchange activities. If it becomes possible for overseas cultural centers to be run by international exchange professionals, leading to the building of internal and external networks and real-time exchange of information, exchange will be conducted in a more effective way. Also, in the private sector, there will be more suitable support. It is also important for private arts organizations to understand and broaden their appreciation for the landscape of international exchange; creating an exchange network that centers on the actual scene, when connected to the system, has a higher possibility of creating synergy. The reason that UK’s Visiting Arts and Switzerland’s Pro Helvetia hire employees with a vast knowledge of the respective culture and arts sector and conduct cultural and arts exchanges in a public format is because it isn’t possible to achieve good results if the private sector can’t absorb the professional manpower internally.

Picture of the Joseon Tongsinsa _ photo by Busan Cultural Foundation

The simple truth

Although this may be a story from a distant past, the fact that international cultural exchange is at its height when a nation’s cultural influence is peaking has been historically proven. I had the opportunity to learn about the tongsinsa (diplomatic missions) and yeonhengsa (envoy) systems through the Busan Cultural Foundation’s ’Joseon Tongsinsa Project’ when I participated in the Connection Box eventorganized by the Korea Arts Management Service. I found that historical events have a fuller meaning than we generally think. It has been known that the aim of operating the tongsinsa was not only diplomatic reasons but also to encourage Japan to take in Joseon culture. What kind of meaning lies in the fact that the severance of the tongsinsa system occurred when Japan formed their own cultural pride by accepting and internalizing Western culture before Joseon? What kind of meaning lies in the fact that the leading artists of the time, including Kim Hong-do, participated inyearly eventsduring the reign of King Jeongjo, exalting the creative capacity of the era and making latter-era Joseon culture and arts internationally known? The lesson that history gives us is that, before focusing on international exchange or export, the capacity of exchange can be changed by the full, even overflowing source that is the internal capacity of the nation’s culture and arts. Before thinking of how to face the outside world or occupy it, the simple truth is to look internally first. This simple truth exists because it is timeless.