한국 문화예술교육의 정체성과 탈근대 담론의 문제

Abstract

Munhwayesul kyoyuk (Cultural Arts Education) in Korea is based on the philosophy that intends to meet the new period of the post-modern. In addition, the most important question in practicing Munhwayesul kyoyuk, such as “Is Munhwayesul kyoyuk focusing on yesul kyoyuk (Arts Education) pursuing the established genres? Or is it more focusing on munhwa kyoyuk (Culture-education) pursuing integrated arts?”, is occurred by the differences among the various degrees of “relatively rich understanding” and “relatively poor understanding” of the post-modern. Influenced by the discourses about the post-modern, some maintain that Munhwayesul kyoyuk admits only “fusion” or “integration” for which the border of each art is negated. This point of view can be called “relatively rich understanding (of the post-modern).” The others maintain that Munhwayesul kyoyuk can also admit the established genres. This point of view can be called “relatively poor understanding” (of the post-modern). The former has strongly been influenced by the theories of Cultural Studies and Cultural Philosophy from the West, and the later has been under the influences of modern Arts Education. As Munhwayesul kyoyuk has these two different points of view at the same time, the conflict between these two has become the chronic and biggest problem of it. The more Munhwayesul kyoyuk (Cultural Arts Education) respects the discourses of the post-modern in the point of view of “relatively rich understanding,” the more it tends to argue Munhwa kyoyuk (Culture-education). The more Munhwayesul kyoyuk respects the established genres in the point of view of “relatively poor understanding,” the more it comes to be close to yesul kyoyuk (Arts Education). Those are the starting points of the problems of forming the identity of Munhwayesul kyoyuk.