‘One Year of COVID-19’ Changes in Mokpo Cultural Community Communication Roundtable Held

"If Culture and Arts Can Never Return, Imagine a Better Future"

Ko Eun-chong, Park Soo-kyung, Joo Min-kwan, Lee Sang-min, Park Chan-woong attending the roundtable discussion (from left to right).

The unstoppable winds of change brought by COVID-19 have fiercely swept through society, politics, economy, and the cultural and arts sectors, leading to forecasts that a return to the past is impossible. Amid this, there was a need to contemplate how culture and arts should evolve in this new era, which led to the hosting of a roundtable discussion to address these concerns. /Editor’s note

[Asia Economy Honam Reporting Headquarters, Reporter Jeong Seunghyun] One year into COVID-19, a roundtable discussion themed on the prospects and communication of Mokpo’s cultural scene was held on the 19th in Mokpo, Jeollanam-do.

The roundtable was hosted by Asia Economy Honam Reporting Headquarters and co-organized by Mokpo Cultural City Center and the Mokpo Cultural Foundation. The panel included Jumin Kwan, Director of Mokpo Cultural City Center and representative of Asia Economy Honam Reporting Headquarters; Park Sukyung, General Director of Mokpo Municipal Dance Company; Park Chanwoong, Chief Director of Mokpo Hana Internal Medicine 21; and Ko Eunchoong, representative of IL PRIMO professional performing group.

The topic of the day was “How has the local culture fared during the COVID-19 crisis?”

Ko Eunchoong, representing the hardships of cultural artists struggling to navigate the rapidly changing on-site atmosphere with dozens of performance cancellations and difficulties in non-face-to-face cultural performances daily, was moved to tears during the discussion.

General Director Park Sukyung said, “Last year, the local arts scene was so severely impacted that even human survival rights were threatened, and it reached a level where it was doubtful whether cultural and artistic development could continue. The emotional leisure that local artists should have was devastated, and rather than a progressive cultural change, the cultural atmosphere collapsed incompetently. As a senior in the arts community, I can only lament this.”

Both General Director Park Sukyung and Representative Ko Eunchoong, who have been active on the front lines of performances, agreed, “We miss the breath of the audience in the seats and the sound of applause at the end of performances.”

Meanwhile, panelists from the media and medical fields, Lee Sangmin and Director Park Chanwoong, deeply empathized with the on-site situation and also proposed alternatives for cultural sector surveys and new cultural development.

Representative Lee Sangmin said, “First, I believe an accurate survey of the damage suffered by cultural artists due to COVID-19 is necessary. Especially, the infrastructure for such damage surveys and countermeasures shows a somewhat large gap between the metropolitan area and provinces.”

He added, “Based on the survey, active support systems such as support for art production and online content creation are being established, but it is true that the regions are still lacking. The fundamental solution to respond to changes in the local arts scene is for local politicians and media to engage in dialogue with artists and present countermeasures.”

In the medical field, which has also suffered significant damage due to COVID-19, Director Park Chanwoong said, “People become stronger in difficult times.”

Director Park advised, “In the early 14th century, Europe experienced a massive plague outbreak, which led to a great upheaval, and by the end of that period, the Renaissance?a cultural development?was established in Europe. I think crisis can become opportunity.”

He also said, “Now is the time for the Fourth Industrial Revolution. Our hospital held about four exhibitions last year. In the past, when performance halls were active, hospital exhibition facilities did not receive much attention, but last year, with COVID-19 restrictions, the hospital’s exhibition facilities gained attention.”

Below is the full transcript of the roundtable interview.

“One year into the COVID-19 crisis, how has local culture been?”

Jumin-gwan Mokpo Cultural City Center Director

▲Jumin Kwan: With the prolonged social distancing due to COVID-19, an inevitable cultural disconnection has spread. The damage caused is occurring throughout the local cultural scene. I believe the panelists here, each from different fields, empathize with this cultural disconnection. Let’s have a free discussion in turn.

▲Ko Eunchoong: Honestly, today’s topic is difficult and heavy as a cultural artist. Last year, performances were frequently canceled even within a single day. Due to frequent cancellations, we tried non-face-to-face performances as an alternative, which was a new challenge. Although we had much experience on-site, everything was new with non-face-to-face performances, so it was truly difficult. Since the entire performance was live-streamed online, issues like screen delay from streaming, camera angles, lighting problems, and teamwork concerns required much more effort than usual performance preparations. Now, I miss the breath of the audience in the seats and the sound of applause at the end of performances.

▲Park Sukyung: The COVID-19 situation, unprecedented in scale, confronted the cultural and arts sector with challenges never before experienced, making last year very difficult and confusing for me as well. Last year, the local arts scene was so severely impacted that even human survival rights were threatened, and it reached a level where it was doubtful whether cultural and artistic development could continue. The emotional leisure that local artists should have was devastated, and rather than a progressive cultural change, the cultural atmosphere collapsed incompetently. As a senior in the arts community, I can only lament this.

Especially, with indefinite social distancing, the entire ecosystem of art exhibitions, cultural arts, and performances was wiped out, making urgent countermeasures for the changed arts scene necessary.

▲Lee Sangmin: First, I believe an accurate survey of the damage suffered by cultural artists due to COVID-19 is necessary. Especially, the infrastructure for such damage surveys and countermeasures shows a somewhat large gap between the metropolitan area and provinces. For example, in Seoul last year, about 53,000 artists?75% of the total 70,000?were threatened in livelihood due to performance cancellations or postponements. Based on such surveys, active support systems like support for art production and online content creation are being established, but it is true that the regions are still lacking. The fundamental solution to respond to changes in the local arts scene is for local politicians and media to engage in dialogue with artists and present countermeasures.

▲Park Chanwoong: I have personally experienced the COVID-19 crisis over the past year. It is said that people become stronger in difficult times. In the early 14th century, Europe experienced a massive plague outbreak, which led to a great upheaval, and by the end of that period, the Renaissance?a cultural development?was established in Europe. I think crisis can become opportunity. Now is the time for the Fourth Industrial Revolution. Our hospital held about four exhibitions last year. In the past, when performance halls were active, hospital exhibition facilities did not receive much attention, but last year, with COVID-19 restrictions, the hospital’s exhibition facilities gained attention.

Change can sometimes erode people’s perceptions but also awaken new attempts. First, the priority is to overcome COVID-19 through vaccine and treatment distribution, but I think visual diversification in cultural arts is necessary going forward.

Measures to address the ‘cultural arts sector harder hit than self-employed’.

▲Jumin Kwan: Recently, while the government has provided disaster relief funds to struggling self-employed individuals, cultural artists have largely been excluded from support. As a result, many cultural artists face difficulties in their livelihoods and often give up their main artistic work or seek side jobs. I ask the panelists to share innovative ideas to alleviate this harsh situation in the local cultural scene.

Sangmin Lee, Head of Honam Bureau, Asia Economy

▲Lee Sangmin: On the 16th, Democratic Party lawmaker Yoo Jungjoo proposed a special loss compensation bill for artists economically impacted by COVID-19.

This bill offers tailored loss compensation for artists who work on multiple projects simultaneously under short-term contracts. Last year, the sales loss in performance and visual arts sectors due to COVID-19 reached 515.6 billion KRW, and employment damage amounted to 296.5 billion KRW.

However, emergency employment safety support funds paid to freelance artists and content industry workers totaled only 39.1 billion KRW. The gap between the damage survey and the amount paid was significant, directly affecting artists’ losses.

Notably, Monique Gr?tters, Germany’s Minister of Culture, introduced an emergency fund of 50 billion euros to support the arts sector as a self-help measure amid the COVID-19 cultural slump, stating, “Culture is never a luxury enjoyed only in good times but a form of human expression,” highlighting the importance of culture.

Minister Gr?tters also said, “In times of crisis, artists have demonstrated creative power, and in this unprecedented historical situation, democratic societies must protect their unique and diverse cultural and media landscapes.” Like Germany, local officials should improve their mindset toward culture, and politicians must back realistic support measures for artists. I hope today’s gathering is not just talk but a starting point for meaningful alternatives and consideration.

▲Park Sukyung: Although political and administrative bodies continuously show interest and propose measures, it takes a long time before local artists feel tangible help. Currently, Jeollanam-do offers emergency welfare support funds of 500,000 KRW to artists, which has been somewhat helpful. However, although organizations like Jeonnam Cultural Foundation and Mokpo Cultural Foundation provide various creative culture support funds, those without artist certification cannot benefit.

To receive such support, artists must obtain certification, but many veteran local artists and young creators lack records of local cultural activities and are thus excluded. Local junior artists help veterans with certification issuance, but this is only a temporary fix. Systematic improvements and information network construction are needed.

▲Park Chanwoong: Many say Mokpo is a city of culture and arts, but having lived here for over 30 years, I often doubt that. Who coined the term ‘city of culture and arts’? Personally, I think a shift in citizens’ awareness is needed first. This is crucial for raising the quality of culture and arts and driving change. Many people are skeptical about cultural support measures.

Art should be considered a beautiful waste rather than an investment.

For example, in Mokpo, it is rare for people to buy tickets to performances. Local art spaces are often free to enter. I wonder how positively this is perceived by citizens. In Seoul, most venues operate on a paid basis, but in Mokpo, many are free, and citizens’ attitudes toward cultural value differ significantly. For the same performance, people in other regions consider paying normal, but in Mokpo, they think paying is a waste. This is the current local performance culture.

Go Eun-chong, Representative of IL PRIMO Professional Ensemble

▲Ko Eunchoong: As a cultural performer, I see regional differences. In Gwangju, people ask if they have to pay even for free performances, while in Mokpo, many avoid coming even if it costs only 5,000 KRW.

Last year, regarding support for cultural performances, many citizens said, “Give us support funds instead of spending money on performances!” Also, for non-face-to-face performances, complaints arose from neighbors about filming noise, which was disappointing.

Moreover, Mokpo still lacks infrastructure and databases. For example, performances held in Hadang are unknown in the city center, and those in Namak are unknown in Hadang.

Now, it is necessary to move beyond one-time cultural support to sustainable support that nurtures artistic value and helps artists grow.

“Culture and arts are shifting toward a spectator culture.”

▲Jumin Kwan: As COVID-19 prolongs, culture and arts are shifting toward a spectator culture to overcome cultural disconnection. Like the old saying, “If you don’t have teeth, endure with gums,” the cultural arts sector is struggling to survive by adopting non-face-to-face performances such as untact performances and driving concerts. However, the lack of interaction with the audience is regrettable. I would like to hear the opinions of the panelists and the difficulties faced by those actively working in the field.

▲Lee Sangmin: Since COVID-19, all performance culture has shifted to non-face-to-face performances and culture technology (CT) integrated with IT. The cultural content market has mainly served non-disabled people, so to expand performance content functions for socially disadvantaged groups who find it difficult to visit venues, barrier-free movements are needed to reduce disparities between provinces and Seoul. We should not simply see COVID-19 as a crisis; the post-COVID non-face-to-face online cultural arts movement will continue.

Park Su-gyeong, General Director of Mokpo City Dance Company

▲Park Sukyung: As a performing arts worker, hearing applause from the audience is the driving force to prepare and create new performances. Even with the introduction of non-face-to-face performance techniques, the low awareness creates a primary barrier.

Secondly, there is the budget issue. Changing budget allocations or modifying them for non-face-to-face performances was very challenging.

Especially, before attracting young artists, the reality is that there is not even a decent performance hall. With prolonged social distancing, it is difficult to even reserve performance halls operated by local governments. Therefore, local small theaters need to be established, and a cultural operational ecosystem should be created.

▲Park Chanwoong: Culture and arts should not be seen as a package but supported by each field. For example, the successful broadcast transmission of the Berlin Philharmonic in Germany sufficiently conveyed the value of art and was a new attempt. Developing format content by field and local authorities or artists themselves should consider this. Consumers should optimize content consumption, and the ecosystem should diversify. Instead of just saying “it can’t be done,” the Fourth Industrial Revolution’s changes in content and cultural arts delivery will likely increase cultural value in the future.

▲Ko Eunchoong: I think the reality is somewhat different. Current cultural arts support is mostly one-time. Cultural support funds are only 2 to 3 million KRW in total. Individual support is about 1 million KRW. If the maximum is 3 million KRW and 500,000 KRW is the standard per one cultural performance, it is financially insufficient to include diverse content in non-face-to-face videos. Even if content is produced, it is questionable whether it can compete with major productions.

▲Jumin Kwan: As a culture planner, I thought untact discussions and COVID-19 were opportunities. I have not met a sharp planner. Even Seoul was unprepared for non-face-to-face, so I thought Mokpo would have a big advantage and prepared diligently last year.

Like the Renaissance after the plague, culture does not return to the past. Both must coexist.

Preparing for non-face-to-face is very important. I hope it will not become mere desk theory. I think budget, administration, and investment in non-face-to-face are important to expand it. This is an opportunity to promote Mokpo nationwide. If investment builds a system and many groups can consistently perform non-face-to-face, it could be a chance to regain Mokpo’s reputation as a port city.

Changes in the local cultural arts scene after COVID-19 vaccination.

▲Jumin Kwan: Recently, COVID-19 vaccination has begun, and there are optimistic views about the cultural sector’s prospects. I believe preparation for changes in local culture is necessary regardless of COVID-19. What kind of blueprint do you envision for the local cultural arts scene?

Park Chan-woong, Chief Director of Mokpo Hana Internal Medicine 21

▲Park Chanwoong: Once vaccines and treatments to overcome COVID-19 are developed, we will surely return to normal life.

With a COVID-19 mortality rate of 1%, South Korea, which has a good medical environment compared globally, should see the realization of cultural arts not as regression but as a stepping stone to the future. I hope this opportunity will transform culture into a platform that resolves the geographical distance of provinces alongside the Fourth Industrial Revolution and demonstrates cultural ideals.

▲Lee Sangmin: At the C?sar Awards, known as the “French Oscars,” an actress named Corinne Masiero staged a nude protest against the government’s theater closure measures. She said, “There is no future without culture,” directly addressing French Prime Minister Jean Castex, demanding, “Jean, give us back our art.” This became a global issue. It shows how much performance depends on being live. I hope the cultural sector’s pain from COVID-19 becomes a driving force for change and a starting point for future development.

▲Park Sukyung: The current COVID-19 situation is difficult. Rather than saying the local arts scene is struggling now, I think it is time to build self-sustainability and reflect. Mokpo has produced many artists and can be called the backbone of Korean arts. Even in traditional Korean music and dance, the top 1% of national public talents are all from Mokpo.

However, Mokpo is currently in a state of talent stagnation because local artists do not want to return home. Compared to other regions, the infrastructure is insufficient, budgets are far too low, and the value of art has stagnated since the past. This is a task for artists and citizens to solve together. If left as is, our local culture may disappear someday, so sincere concern and alternatives are needed.

Also, the past culture that only accepted local talent should be abandoned, and recruiting skilled external talent is necessary. We need an attitude that preserves what should be kept and accepts what should be embraced in art.

▲Ko Eunchoong: I hope this becomes a turning point for nurturing and growing local arts. The will of local governments also seems necessary. Instead of canceling all events, alternatives should be prepared. It is time to embrace and empathize with local artists whose self-esteem has fallen and to create a shared understanding.

Finally, a word for the local cultural arts scene.

▲Jumin Kwan: I thank the panelists for the passionate discussion and innovative ideas over a long time. Lastly, please share any unfinished thoughts or opinions on the development of the local cultural scene.

▲Park Sukyung: I will do my best. As an artist representing Mokpo, I will strive to lay the foundation for the port city Mokpo.

▲Ko Eunchoong: What could be harder than now? I hope the day comes when I can focus as a player to warm hearts. I ask for your support and applause.

▲Lee Sangmin: I think decision-making is the responsibility of local government heads. If administration and cultural artists communicate frequently, I believe Mokpo’s cultural arts scene will develop.

▲Park Chanwoong: I hope many cultural arts discussions take place. Like a small rural restaurant that people find without internet promotion, even if the meal is not elegant, if it has its own color, I believe the light of success will surely come.

This content was produced with the assistance of AI translation services.