해방기 문화공작대의 의제와 성격

Abstract

This thesis empirically restored general view of Munhwagongjakdae (the cultural underground activities group) in the liberation period and presented discussions about the various problems related to this matter such as the direction of activities of the left-wing artists circles interlinked with political changes, the inner side and move of participatory artists, and the effects and influence of popularization. Federation of Korean Cultural Organization dispatched Munhwagongjakdae to the regions all over South Korea in the mid-1947 when most of progressive activities were outlawed in South Korea and considerable number of artists crossed over into North Korea. The left-wing cultural camp with Korean Writers Alliance as its center, which continuously emphasized the importance of cultural popularization movement and discussed the ways of practice, held ‘Joint Celebration General Art Festival’ to break the deadlock through the resumption of the 2nd Joint Soviet-American Commission. The artists, which were divided into a total of 4 groups under the slogan of ‘Culture for the People’ and ‘Culture to the People,’ planned composite art festivals for regional people. These events were comprehensive art festivals that included play, movies, music, comic talk, poetry reading, mobile exhibitions, photo exhibitions, etc., and the number of artists who were mobilized was estimated to be more than 150. Beginning with the 1st group that started for Gyeongsangnam-do on June 30, 1947, the groups were dispatched to Chungcheong-do, Gangwon-do, Gyeongsangbuk-do, and particularly in such places as Busan, Daegu, and Daejeon, a considerable number of audiences were attracted with successful performances. However, due to continued censorships and terrors, the festivals were faced with difficulties so that they could be summarized as a history of ordeals, and Joint Soviet-American Commission also virtually broke down, so they were able to be active only until early August. Such activities of Munhwagongjakdae are characterized by the facts that they were the last and the most active cultural practice that the left-wing cultural camp could choose amid the political and social situation, and that they appealed to national sentiments while reminding people of common memories of national exploitation by the Japanese colonial rule. And oppression on artistic activities became clear and the experiences of direct meeting with regional people were directly or indirectly related to the participatory cultural people’s conversion and crossing over into North Korea, but this matter will be supplemented by a separate follow-up thesis.