Are art centers really buying culturenomics?

A view of Sori Arts Center in Jeonju

Sori Arts Center endeavors to set new path for arts management

By Lee Hyo-won

Korea has become a cosmopolitan hub for the arts, hosting Placido Domingo's exclusive recital in the Asian region during the 2009 season. In recent years, the country has become increasingly well-equipped with the necessary infrastructure for such culture events of the highest caliber.

Concert halls and arts complexes dotting the country boast state-of-the-art facilities and star-studded lineups that are impressive by any standards.

With Seoul City pushing the concept of "culturenomics", the arts sector is now regarded as a crucial sustainable resource with immense potential for yielding economic benefits. Arts Management courses are mushrooming on university campuses and government policy is working toward the idea of cultural decentralization - bringing management know-how of arts activities to provincial regions.

Yet, even the most representative centers in Seoul - the economical, political and cultural center of Korea - seem to lack that magical administrative savoir-faire of brand-name venues such as, say, Moscow's Bolshoi Theater.

The Bolshoi has been headed by the same executive for more than two decades, while the wealth the Korean economy generated from its rags-to-riches development has only recently begun spending on the arts.

Even given their short history, the outdated way in which these venues are administered remains absurdly incongruous to their impressive hardware: institutions are not commercially managed, and CEOs are often direct government appointees serving a term of only about three years, though with the possibility of extending the tenure. It's still far from enough time to amass the necessary arts management skills for long-term sustainable development.

One institution, however, has emerged as a leading example of arts governance: the Sori Arts Center (SAC) in Jeonju, North Jeolla Province.

Breaking old habits

Though it is located far from the metropolis, SAC is the country's second largest arts complex and artists who have graced its stage recently include British tenor Paul Potts. Oh Jung-hae, a "pansori" (Korean opera) artist who is also known as an actress through Im Kwon-taek's film "Beyond the Years", now represents the center as its honorary ambassador.

The arts center's success seems to lie in outsourcing to a civilian administrator. It's the first such case among Korean arts complexes and the bold move seems to have worked.

Since its inception in 2001, SAC has been run by the same executive for nine of the 10 years. It's the longest running tenure to date for a sizeable arts institution here, particularly since it is strictly and regularly evaluated.

"Arts centers in Korea are influenced by the bureaucratic system, either directly or indirectly, because the authorities have the power to approve their budget and human resources", CEO Lee In-gweon told The Korea Times, Monday in Seoul.

"But I believe that artistic leadership must have precedence over management through good governance".

During his tenure, SAC was three times voted as an "Outstanding Arts Center" by the Ministry of Culture, Sports and Tourism His secret to successful management lies in creative thinking.

The 54-year-old upholds physiologist Robert Root-Bernstein's view that "creative thinking is essentially pre-verbal, intuitive and emotional", and likewise believes in a "connective leadership" that inspires through harmony rather than by control and command.

Future outlook

What does he suggest to other arts centers?

The CEO, who also teaches arts administration at Yewon Arts University, proposes what he calls an "arms-length principle", which allows managers charged with the day-to-day running of the country's arts centers much more autonomy than they currently enjoy.

In other words, they should have the freedom and autonomy to support creative activities as they deem appropriate, in order to encourage the intellectual and cultural life of the citizens in the regions they serve.

"I believe things are becoming more in sync with arts funding and commercialization methodologies that are common abroad, such as lottery funding and the increasing awareness that the performing arts account for an important market.

"Arts centers can be uplifted with a new breath of energy and creativity that can help polish the artistic knowledge, commercial acumen and interpersonal skills, which have been lacking to date".

Who Is Lee In-gweon?

Born in 1957, Lee In-gweon graduated from Chonnam National University. After a stint in the Korean Air Force, he entered the arts scene by organizing a wide variety of arts and cultural events for the JoongAng Ilbo, a major national daily.

He is recognized for realizing the Korean concert debuts of artists such as the New York Philharmonic, Isaac Stern and the Vienna State Opera Ballet. In 2003 he became CEO of Sori Arts Center.

In addition to teaching arts management at Yewon Arts University, the professor has assumed leadership positions at a number of culture and arts organizations, including deputy chair of the National Association of Cultural and Arts Centers (NACAC), vice chairman of the Performing Arts Management Association of Korea (PAMAK), vice chairman of the Jeonju International Sori Festival Organizing Committee and vice chairman and governor of the Federation of Asian Cultural Promotion (FACP).

An avid writer, Lee has authored several books on arts management, self-improvement and learning English. He has also penned columns for The Korea Times.




A project with global vision: 'Arirang Rendezvous'

When Yo-Yo Ma's Silk Road Ensemble made its Korean debut in April last year, the multicultural orchestra held fans in rapture with its striking choice of an encore - "Arirang".

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The piece seemed to soothe listeners, as the entire country was at the time mourning sailors who lost their lives in an inter-Korean conflict.

"Arirang" is essentially a heartbreaking love song about bidding farewell. Seething with "han" or habitual sadness, it speaks to a people that have experienced colonization and war in their recent history.

The folk song is thus a quintessence of Korean culture, and Sori Arts Center is brewing up an ambitious project to celebrate the spirit.

In time for its 10th anniversary, the center will showcase a multimedia performance titled "Arirang Rendezvous" in April.

It will be an eclectic combination of song, dance and video featuring variations of "Arirang" that are native to various regions around the country (the Silk Road Ensemble, for example, performed a piece that originates from Miryang, South Gyeongsang Province). Moreover, a compilation of world folk music will spice up the work.

"The word 'arirang' derives from 'aureojida', when two or more components harmonize. 'Arirang Rendezvous' marks the meeting point of Korean and foreign folk traditions, which transcend cultural boundaries and inspire universal sentiments", said Lee.

Sori Arts Center has recruited top talent for the occassion: MBC Production's Shin Seung-ho is overseeing the project as its art director, while lyricist Yang In-ja and composer Kim Heui-gap will bring a modern touch to the centuries-old "Arirang" melody.

"This is not going to be a one-time show; we are aiming to create a production with long-term appeal, like Korea's hit globe-trotting non-verbal performances 'Nanta', 'Jump' and 'samulnori' [traditional percussion band]", said Lee.

"For example if 'Arirang Rendezvous' tours elsewhere, then it will feature artists and/or folk music from the visiting region".

"Arirang Rendezvous" will premiere on April 15 at Sori Arts Center.

Visit www.sori21.co.kr for more information.