- Korea National University of Arts

Transcription

Being an artist who lead the way, not a conformist
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Korea National University of Arts
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The Soft Power of Korea National University of Arts
20
President’s Message
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History of K-Arts
24
School of Music
42
School of Drama
60
School of Film, TV & Multimedia
78
School of Dance
96
School of Visual Arts
112
School of Korean Traditional Arts
128
Academic Programs
129
Admissions Guide
131
Scholarship
131
Affiliated Facilities
133
Affiliated Institutions
135
International Exchange
137
Exchange Student Program
138
AMA · AMFEK Project
139
Academic Year
14 0
Organization Chart
14 1
Visitor’s Info
School of Music
Dept. of Vocal Music
Dept. of Ins trumental Music
Dept. of Composition
Dept. of Conduc ting
Dept. of Musicology
The K-Arts School of Music has sought to stand shoulder to shoulder with schools such as the
Juilliard Music School, Curtis School of Music and Paris National High Conservatory since its
foundation. It offers innovative and intensive courses designed to engage talented students and
nurture world-renowned musicians. As soon as they enter the School of Music, students are
immediately exposed to professors who are also maestros in the field. With the one-to-one tutorial
system that helps individual students find their own unique artistic voice, students are able to
realize their true musical spirit, which transcends the simple acquisition of technical training to
reach a global level. This is proven by the remarkable achievements recorded by students of the
School of Music, as well as the countless awards won at international competitions. Students
are able to concentrate on their music in 92 individual practice rooms and have the opportunity
to participate in more than 140 concerts a year at the Ensemble Room, Percussion Room, Opera
Practice Room, Orchestral Room, and KNUA Hall equipped with a Baroque pipe organ. At the end
of each semester, regular performances by the student orchestra, string ensemble, wind orchestra,
choir, and opera are held in order to help students feel the vivid presence of stage experience
as professional musicians. Moreover, performances of new pieces composed by students at the
Department of Composition demonstrate contemporary music creation. The Computer Music
Technology Lab equipped with state-of-the-art sound equipment offers a venue for various sound
experiments and challenges to create new kinds of music.
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School of Drama
Dept. of Ac ting
Dept. of Direc ting
Dept. of Play writing
Dept. of Stage Design
Dept. of Theatre Studies
Drama is fundamentally a convergence of the arts. As such, the starting point of drama education
is to help students gain an open mind to cooperate with others anytime and anywhere. The
School of Drama in K-Arts consists of five Departments: Acting, Directing, Playwriting, Stage
Design, and Theatre Studies. It offers a methodical drama education system for each system
that is designed to integrate all curricula into 24 large and small scale performances given every
semester. Performances are the melting pot and terminus for education in the School of Drama.
Taking performance-oriented curriculum, the school of drama students aim to become ‘creators’
who constantly expand new horizons in the theatrical arts by taking on challenges and pursuing
opportunities. The educational objective and desirable image we pursue are creators who find
their own unique voices, forms and contents. The School of Drama operates five Departments:
Acting, Directing, Playwriting, Stage Design, and Theatre Studies. Each Department has a faculty
consisting of artists and theatrical scholars who have a great deal of experience and achievements
in academia, as well as in the field of creation. The School offers a 500-seat theatre equipped with
cutting-edge facilities, 2 box stages, 1 experimental stage, 11 rehearsal rooms, 1 multimedia studio,
1 sound design studio, 2 lighting design studios, 3 costume design studios, 1 computer design
studio and 2 stage design studios.
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School of Film, TV
& Multimedia
Dept. of Filmmaking
Dept. of Broadcas ting
Dept. of Multimedia
Dept. of Animation
Dept. of Cinema Studies
The School of Film, TV & Multimedia is Korea’s first national institute for film, TV and multimedia
designed to nurture experts capable of creating new visual works through visual media and
modern technology. The School of Film, TV & Multimedia offers the undergraduate and graduate
program in five Departments: Filmmaking, Broadcasting, Multimedia, Animation, and Cinema
Studies. The curriculum provides practice-based and theoretical courses covering critical analysis
of media arts designed to enable students to produce creative works. Since works of media arts are
created through cooperation among various people, each Department emphasizes interdisciplinary
exploration, respecting special areas and expertise, having a broad understanding of the rapidly
changing media environment and cultural phenomena, and fostering an independent ability to
take appropriate measures. The School strives to produce experts with critical views and executive
production ability by offering fieldtrips so that students can participate in the established media
production process. By providing wide-ranging experiences and experiments through practicebased and theoretical courses, the School helps students seek the creativity in integrated media
language demanded in the new visual era. The School is proud to offer a 252-seat movie theater, a
small and large film studio, 5 TV studios, over 90 practice rooms, and 12 preview rooms along with
over 1,000 pieces of film equipment. The curriculum is designed for students to have hands-on
experience in the media industry by attending various workshops and presentations that demand
technical completeness, annual student exhibitions, and graduation shows with works in films,
media and animation.
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School of Dance
Dept. of Danc e Per formanc e
Dept. of Choreography
Dept. of Dance Theor y
The School of Dance was established as a high-level institute of artistic dance education to foster
talented individuals with the necessary expertise to excel as dance practitioners. The School
fosters an intellectual and creative foundation for dance education through providing opportunities
for intensive practice, creative education focused on creativity, and theoretical education focused
on developing thinking skills and knowledge rooted in the humanities and social sciences. It is
the first school in Korea to adopt a matrix system whereby the fields of theory, choreography and
performance of dance education are classified into different majors. This system is the foundation
for the School’s development as the premier high-level dance education institute in Korea, with a
sterling academic reputation globally. Through education that encompasses the Korean traditional
dance heritage, as well as ballet and contemporary dance, the School of Dance trains professional
dance artists, theorists and planners with the skills and viewpoints required to lead the rapidly
changing contemporary dance scene. To further nurture professional dancers, the School also
operates its own dance company (KNUA Dance Company) led by the faculty and students.
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Dept. of Fine Ar ts
Dept. of Design
Dept. of Architec ture
Dept. of Ar t Theor y
The School of Visual Arts is a national institute for art education established to foster professional
artists capable of meeting the needs of the rapidly changing social, political and cultural environment
of the 21st Century. For this, the School works to implement advanced and futuristic pathways in art
education. As Korea’s only college of fine arts to embrace all the fields of visual arts, including plastic
arts, design, architecture and artistic theory, the School of Visual Arts breaks with tradition to set a
new model for art education grounded in creative, enterprising and integrated thinking, rather than
individual genres or media. This innovative approach underpins all aspects of academic life at the
School of Visual Arts, including improvements in the admission system, the constantly developing
curriculum, the world-class education facilities and faculty, the close interaction and outreach to
schools and departments, and practical education using internal and external exhibition facilities. In
the twenty years since it was founded, it has succeeded in distinguishing itself amid the academic
landscape for its innovation, breadth of approach and commitment to contemporary artistic practice,
as evidenced by the impressive careers of its countless graduates.
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School of
Korean Traditional Arts
Dept. of Korean Traditional Ar ts Theor y
Dept. of Korean Traditional Music
Dept. of Korean Traditional Danc e
Dept. of Traditional Korean Dramatic Per forming Ar ts
Dept. of Korean Traditional Music Composition
The School of Korean Traditional Arts is a higher education institute dedicated to nurturing experts
capable of adjusting to today’s traditional music scene through academic study of traditional
performing arts, with a strong focus on instruments, song and dance to maximize performance
ability. The School is a place in which broad insights and fierce artistic spirit are naturally
transferred to the students beyond the limitations of conventional apprentice-based art education
with simple technical repetitions. Indeed, the School is oriented around education that inherits
and then reinvents the tradition based on the spirit of “learning the new by reviewing the old” to
harmonize tradition with creation. It deserves to be called its popular title of “repository for content
prototypes” by initiating performing arts in Korea and providing the prototypes for other Schools.
The School of Korean Traditional Arts is dedicated to good faith interaction with other Schools to
create new performance styles. It is proud to take the initiative to create 21st-Century Korean arts
education by developing collaborative projects with each School.
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The Soft Power of
Thi rd
— It is important to select and teach outstanding students. Our professors val-
ue the significance of how well we teach students. But, what is more important than
that is how competently we select the students. We renovate the admission system
every year by focusing on finding creative potential that can grow further, rather
than on selecting already-trained abilities that have previous exposure.
Fo u rt h
— The internationally-renowned faculty will stand by you as your partner.
— The soft power of K-Arts originates from pride. The source of the power
The maestros, artists and professors of our university have substantial achievements
held by K-Arts is the pride taken by both students and professors in simply being a
on the international art scene. It is they who light the way for the outstanding stu-
part of the university.
dents of our university to progress. A single word of praise from an internationally
First
acclaimed maestro can instantly take a student’s ability to the next level. The profesSecond
— There is the cluster effect that comes from embracing all artistic genres.
sors communicate with you to help you find “your own unique color and voice”.
K-Arts selects students gifted in the arts, encompassing 27 departments in 6
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schools: School of Music, School of Drama, School of Film, TV & Multimedia,
Fi fth
School of Dance, School of Visual Arts, and School of Korean Traditional Arts. K-
stantly encourages students to create their own arts. This is what the DIY spirit is all
Arts seeks students who have outstanding talents, achievements and motivations
about. The university spares no expense and effort in providing abundant materials
to pursue study in almost all artistic genres. In addition to this, there is remarkable
and facilities capable of fulfilling the students’ desire for the arts, as well as offering
creativity on campus as students collaborate and compete beyond their genres.
various opportunities for students to showcase their work.
— K-Arts provides a greater variety of opportunities for students. K-Arts con-
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The Artist’s Laboratory
Where Dreams Are Made
Korea National University of Arts (K-Arts) is the foremost national arts university in Korea with
the capabilities and purpose necessary to train artists to lead the contemporary arts scene. Today,
our status and achievements have reached their apotheosis. Yet, the starting point of this journey
is the humanities-based approach to education provided by K-Arts.
Art projects not only human emotions, but also human thoughts. As such, art is defined by the
ability to offer a new perspective on humanity. This understanding of the essence of art is the
starting point for greater self-introspection and understanding of others. Furthermore, it enables
one to better understand and empathize with other cultures and societies. ‘Art’ in effect acts as a
medium for people to easily and spontaneously accept what it is to understand humanity.
K-Arts offers convergence-based arts education across six schools designed to foster a natural
exploration of the essence of humanity. The education provided by K-Arts in culture, race,
nationality, region and ideology enables everyone to ‘embrace the world and overcome
differences’. Indeed, K-Arts devotes itself to being an arts university that ‘opens the future’ based
on seeking to augment human understanding.
Founded over 20 years ago without a single building, K-Arts had the seemingly ‘impossible dream’
of fostering world-renowned artists without sending them overseas to study. Today, K-Arts has
raised its international standing as an arts school with a remarkable track-record. By eliminating
or remedying the shortcomings and flaws it once faced, it can now newly cultivate and promote
the dreams held by the faculty and students with passion and potential. We can achieve as much as
we have dreamed. As Goethe said, “Whatever you can do or dream you can, begin it. Boldness has
genius, power and magic in it.”
K-Arts will strive to provide an artistic lab for the young at heart who seek as artists to create
macroscopic prospects of the new human race and explore dreams of the future, create new paths
to furthering those dreams, and cultivate both confidence and intellect.
President of K-Arts K i m B o n g r y o l
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H istor y of K – A rts
Jun 2 5, 199 0
Announcement of the establishment of a national art
school (as a part of the Ten-Year Project for Cultural
Development by the Ministry of Culture and Tourism)
Ma r 0 3 , 19 9 7
Opening of the School of Visual Arts and of the
Graduate Program in the School of Drama to
foster artists fit for the new era
D ec 3 0, 199 1
Enactment of the Decree on the Establishment of
Korea National University of Arts (Presidential Decree
No. 13528)
Ma r 0 9 , 19 9 8
Opening of the School of Korean Traditional Arts to
promote Korean traditional arts, and completion of
the organization of a university with six schools
Sep 17, 19 92
Enactment of K-Arts Regulations
Se p 2 5 , 19 9 8
Amendment of the Decree to extend the years
required for graduation from the graduate
program to at least two years
Oct 30 , 19 92
Confirmation of the organization of K-Arts
(anniversary of the official establishment of the
university)
Nov 16, 199 2
Appointment of Professor Lee Kang-sook from
College of Music, Seoul National University as the
first Principal
Mar 08 , 19 93
Official opening of K-Arts, a specialized arts institute
with advanced teaching methods, world-class
faculty and excellent facilities
Mar 08 , 19 93
Opening of the School of Music, the Korean-style
music institute in the form of conservatory
Mar 03 , 19 94
Opening of the School of Drama, Korea’s only
national drama school, and the Graduate Program
of the School of Music to fully establish the system
of a university
Mar 08 , 19 95
Opening of the School of Film, TV & Multimedia,
Korea’s first national school of film and media to
foster outstanding specialists in film and media
Feb 2 8, 199 6
Relocation of the campus to Seokgwan-dong,
Seongbuk-gu, Seoul
Mar 04 , 19 96
Opening of the School of Dance, Korea’s first
institution of higher education for dance
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Se p 2 8 , 19 9 8
Amendment of the Decree and appointment of
Lee Kang-sook as the first president (reappointed
for the second and third time)
Fe b 11 , 19 9 9
Amendment of K-Arts regulations to grant
a bachelor’s degree in arts
Ma r 0 2 , 19 9 9
Opening of the three-year graduate program in
the Schools of Music and Drama; the two-year and
three-year graduate program in the School of Film,
TV, and Multimedia; and the two-year graduate
program in the School of Korean Traditional Arts
Se p 21 , 19 9 9
Completion of the Seocho-dong campus and
relocation of the Schools of Music and Dance
Ma r 0 2 , 2 0 0 0
Opening of the three-year graduate program in the
Schools of Dance and Visual Arts, and opening of
the practical art training program in the School of
Ma r 01 , 2 0 0 2
Appointment of Lee Geon-yong as the fourth
president
Oct 28, 20 02
Amendment of K-Arts Regulations to adjust the
course duration to 4 or 5 years, and the introduction
of the special admission procedures
Se p 01 , 2 0 0 5
Establishment of Korea National Institute for the
Gifted in Arts to function as the hub center to
discover and train artistically gifted prodigies
Ma r 01 , 2 0 0 6
Appointment of Hwang Ji-woo as the fifth president
Oct 0 9 , 2 0 0 6
Completion of the new campus in Seokgwan-dong
A pr 2 0 , 2 0 0 7
Proclamation of the vision of K-Arts and arts festival
to celebrate the opening of the new campus
A ug 01 , 2 0 0 8
Foundation of the Korea National Institute for the
Gifted in Arts, the first to be supported by the
government based on the Act on the Promotion of
Specific Education for Brilliant Children
Se p 2 7, 2 0 0 8
First entrance ceremony for the artistically gifted in
the field of visual arts
A ug 13 , 2 0 0 9
Appointment of Park Jongwon as the sixth president
Oct 3 0 , 2 012
Celebration of the 20th anniversary of the
foundation and proclamation of the vision
A ug 2 6 , 2 013
Appointment of Kim Bongryol as the seventh
president
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음 악원
School of Music
Dept. of Vocal Music
Dept. of Instrumental Music
Dept. of Composition
Dept. of Conduc ting
Dept. of Musicology
The K-Arts School of Music has sought to stand shoulder to shoulder with schools such as the Juilliard Music
School, Curtis School of Music and Paris National High Conservatory since its foundation. It offers innovative and intensive courses designed to engage talented students and nurture world-renowned musicians. As soon as they enter the School of Music, students are immediately exposed to professors who are also maestros in the field. With the
one-to-one tutorial system that helps individual students find their own unique artistic voice, students are able to
realize their true musical spirit, which transcends the simple acquisition of technical training to reach a global level.
This is proven by the remarkable achievements recorded by students of the School of Music, as well as the countless
awards won at international competitions. Students are able to concentrate on their music in 92 individual practice
rooms and have the opportunity to participate in more than 140 concerts a year at the Ensemble Room, Percussion
Room, Opera Practice Room, Orchestral Room, and KNUA Hall equipped with a Baroque pipe organ. At the end of
each semester, regular performances by the student orchestra, string ensemble, wind orchestra, choir, and opera
are held in order to help students feel the vivid presence of stage experience as professional musicians. Moreover,
performances of new pieces composed by students at the Department of Composition demonstrate contemporary
music creation. The Computer Music Technology Lab equipped with state-of-the-art sound equipment offers a venue
for various sound experiments and challenges to create new kinds of music.
24
School of Music
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C urriculum
Dean’s Message
From their very first year at the School, students take intensive major courses without
selective liberal arts courses. Core theoretical courses are integrated into a single course
called Harmony and Analysis, which is taught according to the School’s unique method.
With a great emphasis on practice and performance in each major, the practical courses
of the major account for 4 credits, which is twice that of other colleges and a quarter of all
credits required for graduation. There are workshops for each major that also allow open
lessons. While the practical courses function as private lessons, workshops provide an
occasion for various professors to meet with students for open lessons of their major and
share their experience. To improve students’ ability to compose music, the curriculum
also focuses on ensembles, requiring students to take courses such as Chamber Music,
Chorus and Ensemble. For courses such as Sight Singing, Music Dictation and Harmony
and Analysis, students can earn credits for the courses, regardless of whether they took
them or not, as long as they reach a certain level of ability.
H istor y
J a n . 1 9 9 3 Inauguration of the 1st Dean (Professor Lee Kyeong-sook)
M a r . 1 9 9 3 Opening of the School of Music
M a r . 1 9 9 4 Establishment of the graduate program for the School of Music
M a r . 1 9 9 7 Inauguration of the 2nd Dean (Professor Lee Young-jo)
M a r . 1 9 9 9 Establishment of the three-year graduate program
S e p . 1 9 9 9 Completion of the Seocho-dong Campus (relocation of the School of Music)
M a r . 2 0 0 1 Inauguration of the 3rd Dean (Professor Lee Geon-yong)
M a r . 2 0 0 2 Inauguration of the 4th Dean (Professor Kim Nam-yun)
J u l . 2 0 0 3 Change of the Department of Musical Technology in the graduate program
from two to three years due to revision of the K-Arts regulations
D e c . 2 0 0 7 Selected as Daewon Music Awards winner (School of Music)
S e p . 2 0 0 9 Inauguration of the 5th Dean (Professor Oh Gwang-ho)
S e p . 2 0 11 Inauguration of the 6th Dean (Professor Park Kwang-seo)
S e p . 2 0 1 3 Inauguration of the 7th Dean (Professor Hwang Sung-ho)
The K-Arts School of Music is filled with young vigor and passion for
music. The artistic energy of both the faculty and students who simply
love music has grown in strength to act as a source of power for young
musicians from the School of Music to win leading international
competitions and build their careers confidently in the global arena.
Established in 1993, the School of Music, Korea’s only educational
institute of music, is a conservatory focusing on practice. By fostering
world-renowned musicians, the School aims to become the world’s
best educational institute of music. To this end, the ultimate goal of
education at the School is to foster creative professional musicians
by offering intensive major courses that are differentiated in design
and delivery from other music schools. Such an innovative and
differentiated pedagogic approach has already won recognition for the
achievements it has enabled, as proven by the successful activities of
students and graduates of the School of Music who have won countless
international competitions and continue to achieve brilliant exploits
across the world.
The School of Music has recently joined the ranks of the world’s most
prestigious music schools. As part of our dream of becoming the best
music school in the world, we will produce talented musicians capable
of taking global music circles by storm. This is the way our School
contributes to the nation and Korean society as a highly competitive
and prestigious music school.
Dean of the School of Music
Hwang Sung-ho
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School of Music
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Vocal Music
The Department of Vocal Music nurtures
outstanding professional vocalists based on
a systematic and specialized practice-based
approach. Indeed, the Department offers
professional guidance through private lessons,
and requires students to take intensive major
courses such as Diction, Opera Class and Chorus
from their first year, helping them gain actual
musical performance experience, skills and the
professional knowledge required by singers.
Courses such as Class Piano and Vocal Literature
are mandatory to improve overall musical
capability. The Department offers selective
courses such as Kunstlied, Vocal Ensemble,
and Choral Conducting for students to choose
according to their interest and gain expertise in
the field.
By taking part in an opera each year, students
experience the actual process of performing and
producing an opera. In addition, participation
in activities such as song, aria recitals as well as
choral performances enables students to improve
their performance skills as singers.
facult y
Choi Hyun-soo Baritone
B.M., Yonsei University
Accademia D’Arte Lirica E Dorale Citta Di Osimo(Diploma)
Performed <L’elsire D’amore>, <Louisa Miller> with
Pavarotti at major opera theaters in the US such as
San Francisco Opera, Philadelphia Opera, New Jersey
Opera, and New York City Opera
Won prizes such as first place and special prize at
Tchaikovsky competition, and first place at Verdi Competition
Kim Young-mi Soprano
B.M., M.M., Conservatory and Academy
of Santa Cecilia, Italy
Many overseas concert hall performer, Adriana and
Liu on the stages of the opera houses, Philadelphia
performance with Luciano Pavarotti, production of
L’Elisir D’Amore, etc.
Recipient of the National Cultural Meal of Honor from
the Government of Korea
Song Kwang-sun Soprano
B.M., Ewha Womans University
Conservatorio Di Roma Santa Cecilia(Diplom)
Performed a first place vocal solo recital at Beniamino
Gigli International Competition, the winner of a prize
vocal solo recital at Francisco Vinas International
Competition, the winner of a prize recital at Maria
Callas Competition and etc.
Yang Hee-jun Bass
B.M., Seoul National University
Hochschule Für Musik Köln(Diplom)
Performed as an exclusive soloist at Karlsruhe Opera
Company in Germany and an exclusive soloist at
Hamburg Opera Company in Germany
Recipient of the Dr. Wilhelm “Oberdorfer” prize, Hamburg
Yim Ung-kyun Tenor
Osimo Accademia(Attestato)
Performed at operas <Pagliacci>, <Rigoletto>, <I due
Foscari>, <L’elsire D’amore>, <Aida>, <Othello>
Performed local concerts in 17 cities in Italy including
Rome, Milan, Ancona
Won prizes at Verdi, Gian Battista Viotti, and Mantua
International Competitions
Choi Sang-ho Tenor
Completed studies at the Hochschule fuer Musik
in Karlsruhe as a student of Prof. Aldo Baldin
Member of the Staatstheater in Kassel, Frankfurt
Invited guest by: Komische-Oper Berlin, Karlsruhe,
Mannheimer, Stuttgart, Darmstadt, Wuppertal,
Luebeck, Sommerfestspiel Moerbisch in Austria 2001
with ORF, NHK TV
Oratorio
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K-Arts Opera
School of Music
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Instrumental
Music
The Department of Instrumental Music nurtures
creative professional performers balanced with
outstanding global performance ability, musical
sensibility, expressiveness, broad musical
knowledge, and interpretative ability. There are
21 majors covering keyboard, string, wind and
percussion instruments, and the curriculum
is most effective in achieving the goal and it is
designed to reflect the characteristics of each
instrument.
The curriculum is divided into three groups.
First, there are courses designed to improve
the students’ performing skills for specialized
instruments, such as major courses, workshops,
chamber music, and ensembles, most of which
are mandatory. Second, there are courses
designed to cultivate the core musical refinement,
musical knowledge and interpretative skills, such
as Sight-Singing, Music Dictation, Harmony and
Analysis, History of Western Music, Keyboard
Harmony, Literatures, Score Reading, and
Figured Bass. Third, there are courses offered
that are designed to build a broad and creative
world of art through experience and research on
music and other genres of art or the humanities,
such as Music History, Secondary Major, Chorus,
Art History, Foreign Languages, Understanding
Cultures, and Special Lectures. The performance
skills, musical sensibility, and expressiveness
cultivated by the curriculum are further enhanced
through performance opportunities that include
solo, chamber music and ensembles.
facult y
Kim Dae-jin Piano
B.M., M.M., D.M.A., the Juilliard School of Music
First Prize, the Robert Casadesus International
Competition (Cleveland)
Complete Cycle of Mozart, Chopin and Beethoven
Piano Concertos
Appearances with the Cleveland Orchestra and
Rundfunk-Sinfonieorchester Berlin
Jury, Clara Haskil, Clevland, Gina Bachauer, Beethoven,
Sendai, Hamamatsu and many others
Kim Nam-yun Violin
Diploma Juilliard School of Music (Violin)
Winning a Prize of Ok-Kwan Medal, The Prize of Korea
National Academy of Arts, etc.
Jury member of The Queen Elizabeth International
Music Competitions, Belgium, The Tchaikovsky
International Music Competitions, Russia, etc.
Lee Kang-ho Cello
M.M., Yale University, D.M.A., New England Conservatory
Previously a professor at Southern Illinois University
– Edwardsville / Previously a professor and Director
of Department of Music at University of Connecticut
Member of Chamber Music Society
Performed with KBS Orchestra, Seoul City Orchestra,
Suwon City Orchestra, etc.
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Lee Seok-jun Horn
B.M., Seoul National University.
Diplom and Das Konzertexamen, Folkwang
Hochschule, Germany
The grand prize, KBS New Talent Discover Competition, 1994
The first prize, Dong Ah Competition, 1994
The tape audition and proceeded to the main
competition in ARD Music Competition, 1999
Lee Sung-ju Violin
B.M., M.M., the Juilliard School of Music
Performed with the Czech Philharmonic Orchestra, Hungary
National Orchestra, St. Louis Symphony Orchestra, etc.
Performed recitals at New York Kaufmann Hall, LA
Ambassador Hall, Merkin Hall, Hong Kong City Hall, etc.
Invited for performances in Shanghai, Shenyang, and Prague
Lee Ye-rin Flute
Top graduate of CNSM de Lyon in France
Graduated from the best performers’ course, University
of Music and Performing Arts Munich in Germany
Won Leopold-Bellan, Gaston Crunelle, Picardie
Concert in France
Chief of Suwon Philhamonic Orchestra, deputy chief of
Chungnam Philharmonic Orchestra
Lee Young-hee Accompaniment
B.M., Piano Performance, Seoul National University
D.M.A., Keyboard Collaborative Arts, University of
Southern California, USA
Accompanist for the International Violin Competitions
Dong-A, Yehudi Menuhin, Yfrah Neaman, Henry
Wieniawsky, Henry Marteau, Hannover, Sarasate, etc.
Official pianist Keshet Eilon Violin Mastercourse (Israel),
Casalmaggiore Summer Music Festival (Italy), etc.
Oh Ja-kyung Organ
B.M., Hanyang University
D.M.A., University of Michigan, USA
Visiting Professor at Yale University as a Fulbright scholar
Jury of the Musachino International Organ Competition
Many Solo recitals in USA, Japan, Germany, Italy and Korea
Oh Soon-wha Viola
B.M., M.M., Juilliard School of Music
Winner of AMTL, Great Neck Young Artist, Juilliard
Bach, Berlioz competition, USA
Soloist with Juilliard Sym., Stuttgart Chamber orch., KBS, etc.
Leader of Ola Viola Sound, member of Korean soloists
Park Kwang-seo Percussion
Diplom. Hochschule Für Musik Und Darstellende
Kunst Wien, Austria
Hochschule Für Musik Und Darstellende Kunst
Wien Musikpädagogik, Austria
Principal timpanist at the KBS Symphony
Orchestra (1985~97)
Principal percussionist Hong Kong Philharmonic
Orchestra (1977~79)
Music director of the Seoul Percussion Ensemble
Park Sang-min Chamber Music
B.A., The Juilliard School
M.M., The Mannes College Of Music
Life member of the Philadelphia Orchestra
Cello senior at Korean Symphony and visiting professor
at Rowan University
Won first place at New Jersey Symphony Competition
and Elgar Competition held by The Juilliard School
School of Music
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School of Music
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School of Music
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Composition
The Department of Composition teaches students
the principles and theories of Western and Korean
music, while offering continuous opportunities
to practice compositions and nurture composers
with artistic thinking and technical skills.
Students receive many kinds of musical
training, including computer music. Students
also receive the training required to reach a
professional level in the ability to play at least
one Western or Korean traditional instrument.
In addition, students present their creations at a
recital once a semester for three years. They are
also able to build their careers as composers by
presenting their works at off-campus recitals,
publishing musical pieces, and participating in
other performances.
facult y
Chang Jae-ho Musical Technology
Sound Programmer at Korean Institute of Science and
Technology (KIST) Film Media Center
Published papers on Composing Noise (Royal Music
school of the Netherlands), NAVER Musical Composition
Environment (2002 international VSMM conference)
Art activities at Seoul International Computer Music Festival,
Samsung Museum, Art Center Navi, etc.
Hwang Sung-ho Composition
Koninklijk Muziekconservatorium Brussel (Diploma)
Invited composer at Kobe International Computer
Music Festival ‘98, Havana International
Electroacoustic Festival 2000, Yokohama Asian Music
Week 2000, and Synthese 2001 (Bourge, France)
Composed electroacoustic songs <TV Scherzo>,
<Astigmatism>, <Contrast>, etc.
Kim Sung-ki Composition
M.A. in composition from Seoul National University
B.A. in composition from Seoul National University
Previously an instructor, assistant professor, and
associate professor at University of Seoul
Won prizes at the first Yeuem, 11th Korea composition
prize and announced a number of music pieces
Yoo Byung-eun Composition
M.M., University of Michigan, USA
Performances; Frankfurt Pungmul for ensemble Germany,
Shinawi No. 7 for flute Japan, Contemporary Music Series,
USA, International Contemporary Music Festival, Russia, etc.
Major Works; Hahn for orchestra, The Dawn of Sanjo
for orchestra, Piano Sanjo No.2, etc.
Conducting
The Department of Conducting aims to discover
students who are capable of reconstructing
musical pieces into creative art, develop their
capabilities and train them to become competent
professional conductors.
The required major courses include conducting
practice, piano performance, score reading, opera
accompaniment, and continuo. Students gain a
broad understanding and knowledge of music
and art in general, as well as learning how to play
each instrument and experiencing conducting
through practical training.
36
facult y
Chung Chi-yong Orchestra Conducting
B.M., Seoul National University, Korea
M.M., Mozarteum School of Salzburg, Austria
Winner of International Conducting Competition of the
Austrian Broadcasting Cooperation
Austrian Culture Ministry Award
Music director of Changwon-Philharmonic Orchestra
Kim Hong-soo Choral Conductor
B.M., Hanyang University of Arts
M.M., Choral Conducting at Korean National University of Arts
D.M.A., Choral Conducting at University of North Texas
Assistant Conductor of Korean National Choir,
A Cappella Choir at University of North Texas
Artistic Director of Seoul Choral Musicians
Musicology
The Department of Musicology aims to foster
creative musicologists, music theorists, and
critics with expertise in both theory and practice.
Students learn how to select research topics and
methodologies, collect data and enhance their
writing skills in order to develop their creative
thinking, critical and logical communication
skills. They are required to obtain knowledge
and execution skills pertaining to various kinds
of music, such as Western, non-Western, and
modern Korean music.
The curriculum is divided into courses that
help students actively respond to the rapidly
changing global music industry, with courses that
systemize and lead music in Korea, courses linked
to the actual field of music, and courses balanced
in both theory and practice.
facult y
Hur Young-han Musicology
M.M., Queens College of the City University
of New York, USA
Ph.D, The Graduate Center of the City University
of New York, USA
Works; An Enchanted Castle: Stories of Opera,
Species Counterpoint and Tonal Music, A History
of Western Music, Introduction to Musicology, etc.
Joo Sung-hye Musicology
B.A., M.A., Music Theory/ Musicology, Seoul National
University
Completion of Ph. D., Musicology, Seoul National University
Completion of Ph. D., Ethnomusicology, University
of Maryland, College Park, USA
Author of Musicology, Feeling the People and
Listening to the World, Reading Music Reading
Community, Forty Year History of Korea National
Opera, “Yosong Kukkuk as a Korean Traditional
Art Form: Reflection on the Dominant Aesthetics
through a Marginalized Genre,” etc.
First Prize Winner in the Department of Music Criticism
of the Spring Literary Contest 1986 (Donga Ilbosa)
Min Kyung-chan Musicology
M.M., Tokyo National University of Fine Arts and Music
Works; Korea’s Music History for Teenagers, An Index
and a Bibliographical Introduction to Korea’s Vocal
Music, Acceptance of Western Music in East Asia
Admissions
Guide
The admissions process for prospect students of
the School of Music is defined by its independence,
reliability, differentiation from other colleges as
well as fairness and strictness. This is to enable the
selection of truly excellent students who aim to
become professional musicians. Moreover, another
defining feature of the admissions process is that
the School of Music comprehensively assesses the
students’ current ability as well as potential.
In the first examination, students are selected based
on their high school records that account for 10%
and their practical test scores that account for 90%.
The second examination selects students solely on
the basis of the practical test scores.
The School holds two practical tests by avoiding
conventional admissions procedures, disclosing the
process to the general public to ensure the fairness
of evaluation as well as the transparency and
reliability of the selection process.
The admissions system breaks away from
the conventional method of providing certain,
standardized songs regardless of students’ musical
individuality by allowing students to select a song of
their choice within a fixed category so that they can
give full range to their advantages and personalities.
In addition, the School has adopted an absolute
evaluation system to select only those who attain
a certain level of ability, without filling the entrance
quota regardless of the students’ level. This enables
the School to become a high-level educational
institute dedicated to arts education.
To discover and foster individuals with potential
and competency in music, the School divides the
admissions system into that of regular admission
and special admission for students selected as the
gifted in the arts for music in the previous year. The
characteristics of the admissions system in each
Department are as follows.
Common (Vocal Music, Instrumental Music)
Basic music theory : Students are evaluated on their
knowledge of basic theories of Western music such
as pitch names, intervals, scales, clefs, keys and key
signatures.
Music dictation : Students are evaluated on their
ability to determine the basic rhythm, sounds and
intervals on a piano.
piece. Students are also required to sing an aria of
their choice to show the boundaries of their abilities.
For all songs, they are assessed on their precise
diction, tune, beat, motif, singing attitude, and
understanding of the songs.
Instrumental Music
Students are assessed on whether they have the
high-level techniques and performance skills for
their specialized instruments, along with their
outstanding talent, sophisticated musicality, musical
discernment, and creative musical interpretation.
Composition
By taking a music dictation test, students are
assessed on their basic musical skills, as well as
their ability to musically express answers to the
given tasks within a given time through a sightsinging test. Moreover, students are also evaluated
on their performance techniques and musical
execution through a piano recital (binary, sightreading performance, figured bass). Finally, students
are tested on their understanding of various works
of each musical period and their ability to compose
according to the mood by taking the composing
test (piano) and interpretation of chords. The oral
test identifies and evaluates the students’ general
knowledge of music and the musical logicality
evident in the works they have submitted.
Conducting
The first examination consists of sight-singing,
music dictation, piano performance and the
testing of the law of harmony between traditional
chords. The second examination requires students
to take an oral test through questions about
their knowledge of music in general. The Choir
Conducting major evaluates vocal performance, and
the Conducting major evaluates the reading and
conducting ability for a full score given on the day of
the examination.
Musicology
The first examination consists of music dictation,
piano performance and a test of the laws of harmony
between traditional chords, while the second
examination consists of a written test based on the
given material, as well as an English test designed
to assess the students’ logical thinking skills and
linguistic expressiveness.
Vocal Music
The Department of Vocal Music focuses on
assessing whether students are qualified as actual
musicians. They are tested on their basic learning
ability and performance skills as a professional vocal
musician by singing a test song and a Concone
38
School of Music
39
Major
Facilities
Completed in 1999, the School of Music is
equipped with extensive facilities for the practice
and education of music. These facilities include
rooms for rehearsals, lessons, professors and
chamber music, along with rooms for ensembles,
music, organ, percussions and pianos, providing
students with sectional rehearsal spaces for
each major and maximizing the capabilities of the
students. Moreover, the KNUA Hall, with a capacity
of 368 seats, provides year-round opportunities
for students to perform and accumulate hands-on
experience.
The School has grown in international academic
statue by securing the optimum educational
materials through considerable investment to
provide high-level music education. There are
48 grand pianos (36 Steinways, 5 Yamahas,
and 6 Kawais), 68 upright pianos (43 Yamahas
and 6 Kawais), 19 digital pianos, one celesta, 3
harpsichords, 2 electronic organs, and 2 pipe organs
(including the one in the KNUA Hall). Furthermore,
there are 336 musical instruments, such as string,
wind and percussion instruments, for ensembles
and orchestras, along with traditional instruments,
including the gayageum and janggo.
Instrumental Studio
•
•
•
•
Organ Studio : There are organs, Wilhelm, and 11stop pipe organs.
Harpsichord Studio : There are 3 harpsichords.
Percussion Studio : There are total 78 instruments
of 22 kinds including marimba, timpani, drum set,
glockenspiel, and snare drum.
Piano Lab : There are 19 digital pianos and
projection screens.
Rehearsal Room
40
Rooms for Lessons and Chamber Music
There are 9 rooms for lessons equipped with
Steinway, Yamaha, and Kawai grand pianos for
private lessons, and rooms for chamber music
equipped with upright pianos for ensemble lessons.
Practice Room
There are 92 rooms for individual practice with
upright pianos and Yamaha and Kawai grand pianos.
Rehearsal Room
The room is equipped with a Steinway grand piano,
a celesta, 12 contrabasses as well as video and
audio equipment for rehearsals of an orchestra or
large-group performances.
Electronic Music Studio
The studio has synthesizers, Mac computers,
video projectors, sound synthesizers, and audio
equipment, enabling students to engage in
education, creation, production, performance and
research. It is mainly used as a lecture room for
music technology majors.
KNUA Hall
This 368-seat performance hall has the only
Schnitger-style Baroque organ in Korea, and it
frequently hosts students’ recitals and concerts.
Affiliated
Institutions
Early Music Institute
Korean Composers Center
The Early Music Institute was established in
September 2005 with the aim of promoting active
research and performance of early music (music in
or before the Baroque period). Led by Director Oh
Ja-kyeong, two senior researchers of the Institute,
Jeong Gyeong-young and Lee Seong-ryul, were
selected as academic research professors of the
National Research Foundation of Korea and have
conducted research on early music for three years.
The Institute has promoted greater understanding
of early music by hosting a series of special lectures
titled “Rediscovery of Early Music”, inviting overseas
early music performers and scholars such as R.
Stewart. In 2008, the Institute held a workshop led
by Honami Koga and Kiyotaka Yayoshi, renowned
Baroque dance experts from Japan. The Institute
also hosted academic forums with the topic of
“Sponsoring German-Based Music in the 18th
Century” in 2011, and “Philosophy, Theology and
Bach in the 18th Century” in 2012. For performance
activities, the Institute has hosted the K-Arts Bach
Week since 2009, where German performers and
conductors specialized in Bach’s music such as C.
Bossert and R. Boerger are invited to promote better
understanding of Bach’s various worlds of music.
Within Korea, there is as yet no organization or
research center that systematically collects, studies
and supplies creative music. Accordingly, countless
pieces of creative music are fading away, denying
the next generation the value of their musical and
cultural properties. Significant challenges abound
in regards to ways to theoretically systemize our
creative music and establish the identity of our
music. Moreover, there are limitations in globalizing
and spreading our creative music to the world.
To this end, the School of Music established the
Center to enable future leaders of Korean music
circles to see and enter the global music industry
with a broader perspective. For this, the Center
promotes the kind of insight required for students
to actually become the leaders of the global music
scene. The first goal is to provide a new model for
production, performance and research activities of
Korean composers. In addition, the Center collects
data on Korean composers and conducts joint
research projects. Moreover, it also establishes
theories relevant to Korean music, recommends the
strategic direction for long-term development, and
strives to globalize the works of Korean composers
and interact with an international audience.
Computer Music Center
The Computer Music Center undertakes research
into music and sounds using computers as part of
a wider remit to promote the creation of computer
music. Its major projects include virtual reality, video
music and sound work (KIST cooperation project)
for the Gyeongju Cultural Expo 2000; production of
sound and music for the logic game “The Pendulum
of Hades” made in collaboration with OrAndIf, a
venture business of Seoul National University; and
industry-academy projects, such as developing cell
phone ringtones for LG electronics. The Center has
also carried out education projects, including training
MBC Radio producers and sound technicians. In
addition, based on its close relationship with the
Korea Electro-Acoustic Music Society, the Center
has contributed to the promotion of computer
music performances by participating in ACC 2008
(Osaka Geidai) concert, Next Wave Concert 2008
and others.
KNUA Hall
School of Music
41
연극원
School of Drama
Dept. of Ac ting
Dept. of Direc ting
Dept. of Play writing
Dept. of Stage Design
Dept. of Theatre Studies
Drama is fundamentally a convergence of the arts. As such, the starting point of drama education is to help students
gain an open mind to cooperate with others anytime and anywhere. The School of Drama in K-Arts consists of five
Departments: Acting, Directing, Playwriting, Stage Design, and Theatre Studies. It offers a methodical drama education system for each system that is designed to integrate all curricula into 24 large and small scale performances given every semester. Performances are the melting pot and terminus for education in the School of Drama. Taking performance-oriented curriculum, the school of drama students aim to become ‘creators’ who constantly expand new
horizons in the theatrical arts by taking on challenges and pursuing opportunities. The educational objective and
desirable image we pursue are creators who find their own unique voices, forms and contents. The School of Drama
operates five Departments: Acting, Directing, Playwriting, Stage Design, and Theatre Studies. Each Department has
a faculty consisting of artists and theatrical scholars who have a great deal of experience and achievements in academia, as well as in the field of creation. The School offers a 500-seat theatre equipped with cutting-edge facilities, 2
box stages, 1 experimental stage, 11 rehearsal rooms, 1 multimedia studio, 1 sound design studio, 2 lighting design
studios, 3 costume design studios, 1 computer design studio and 2 stage design studios.
42
School of Drama
43
C urriculum
Dean’s Message
The educational objective of the School of Drama is to nurture “creators” who can lead the Korean
and global theatrical artistic space and embody the School’s central premise of “drama as a starting
point and completion of all kinds of performing arts”, rather than a conventional or staid notion.
The curriculum focuses primarily on practical courses and experimentation with convergence into
performance. For the undergraduate program, the first- and second-year curricula focus on core
aspects of art education, humanities and introduction to drama, while the third- and fourth-year
curricula focus on intensive courses for each major, encouraging students to take interdisciplinary
courses with other fields of art, such as music, dance, visual and traditional art, and film. The graduate
program focuses on student creation and experimentation to help students develop their own
independent world of art as “creators”.
H istor y
M a r . 1 9 9 4 Opening of the School of Drama (Professor Kim Woo-ok as the 1st Dean)
Opening of 4 Departments in undergraduate program: Acting, Directing, Playwriting, Stage Design
J u n . 1 9 9 6 Relocation to the Seokgwan-dong Campus, establishment of the foothold
for growth as a specialized education institute for theatrical practice
M a r . 1 9 9 7 Establishment of the graduate program
Opening of 5 Departments: Acting, Directing, Playwriting, Theatre Studies, Stage Design
J a n . 1 9 9 8 Completion of the Art Theatre, establishment of performance-oriented drama education system
M a r . 1 9 9 8 Separation of theoretical studies from the Department of Playwriting into an
independent Department of Drama Theory (undergraduate program)
1 9 9 9 Renaming of the Department of Drama Theory to the Department of Theatre Studies (undergraduate
program), Division of the Department of Acting into Acting and Drama/Theatre for the Young for
selection of students (graduate program)
M a r . 2 0 0 0 Inauguration of the 2nd Dean (Professor Kim Kwang-lim)
M a r . 2 0 0 2 Establishment of the Theatre Management major in the Department of Theatre Studies
J u l . 2 0 0 2 Foundation of Dolgoji, a theatrical company run by the School of Drama,
Performing arts are evolving to meet the challenges of the 21st
Century. To cope with these changes, the School of Drama offers
a variety of curricula to provide education on the essentials and
customs of drama, as well as convergence in the form of collaborative
creation across majors. Moreover, the School offers humanities
programs that provide opportunities to find new inspirations and
ideas to lay the groundwork for artistic creations.
It has now been 20 years since the foundation of the School of
Drama. All the efforts made by the School of Drama thus far have
been predicated on a stated aim to lead the future of drama in Korea.
The achievements made by the small but powerful school were
outstanding. It was an honor for the school. However, the School
of Drama does not rest on present success. Rather, we continue to
shape the future of a School with greater excellence and academic
leadership across performing arts. We will strive to provide new
styles of education as demanded by contemporary artistic practice,
with engagement across the surrounding arts and education that
gives inspiration so that the students can realize their dreams in the
School of Drama.
to secure a bridgehead for practical education and field career
M a r . 2 0 0 4 Inauguration of the 3rd Dean (Professor Hwang Ji-woo)
Opening of the Narrative Writing major in the Department of Playwriting
M a r . 2 0 0 6 Inauguration of the 4th Dean (Professor Kim Suk-man)
Dean of the School of Drama
Choi Sang-chul
F e b . 2 0 0 7 Relocation to the new Seokgwan-dong Campus (Campus 2), establishing the
foundation as a specialized drama education institute
M a r . 2 0 0 7 Reorganization of the school system – Relocation of the Narrative Writing
major in the Department of Playwriting to the Cooperation Program
M a r . 2 0 0 8 Inauguration of the 5th Dean (Professor Yoon Jung-seop)
Reorganization of the school system – Relocation of the Theatre Management
major in the Department of Theatre Studies to the Cooperative Program
A p r . 2 0 0 8 Opening of Stage Design Center as an affiliated institute of the School of Drama
A p r. 2 010 Inauguration of the 6th Dean (Professor Kim Yun-cheol)
M a r . 2 0 11 Return of the Theatre Management in Cooperative Program back to the Department of Theatre Studies
as Theatre Management major (undergraduate program, graduate program). Return of the Narrative
Writing in Cooperative Program back to the Department of Playwriting as Narrative Writing major
M a r . 2 0 1 2 Inauguration of the 7th Dean (Professor Choi Young-ai)
M a r . 2 0 1 3 Selection of the host institute for the Cooperative Program for Creation of Musical Play
O c t . 2 013 Celebration of the 20th anniversary of the School of Drama
M a r . 2 0 1 4 Inauguration of the 8th Dean (Professor Choi Sang-chul)
44
School of Drama
45
Acting
The Department of Acting nurtures actors with
sophisticated acting skills, rich imagination
and creativity predicated on a strict training
regime. Specialized and detailed education
embraces Eastern and Western methodologies
to help students learn various acting techniques
in a professional capacity, from the classics of
the East and West to modern experimental
theatre, and create their own acting style through
embodying Korean sentiments. Through core
courses, students can learn the basics of role
creation, through self-recognition based on
relaxation of the body and mind; training of the
body and mind through Eastern martial arts,
beats and steps, mime, acrobatics, breathing and
phonation; and analysis of characters and plays.
Intensive courses help students broaden the
scope of their competencies as actors through
classes specializing in the predominant acting
styles of the East and West, acting for the camera,
traditional Korean dance, and advanced body
techniques. Students are thus able to grow into
actors with a distinct Korean identity through
experiments that combine Korean tradition
with Western styles. The Department of Acting
offers a four-year undergraduate program and
three-year graduate program, and the graduate
program runs an Acting major and Drama/
Theatre for the Young major.
Drama/Theatre for the Young fosters experts
who can create and perform plays for the young
based on sensible imagination and thinking
with physical body. Students can explore the
artistic and educational potential of drama and
play through creative theatrical works. Students
receive practical training in performances related
to children, teenagers and communities that are
process-centered and interactive through joint
creations, such as a story-theatre and community
performance. Moreover, by balancing practical
training with theoretical training, such as
seminars and forums, students are able to
experiment and engage in introspection on
drama for the young according to cultural and
social contexts.
facult y
Choi Young-ai Drama/Theatre for the Young
B.A., English Language and Literature, Ewha Womans University
M.F.A., Drama Theatre for the Young, Eastern
Michigan University, USA
Vice-President & The executive Committee of
ASSITEJ International
Presentation; Japan and Various presentations in
Turkey, Austria, Canada, etc.
The best director Children’s theater, The best play
of the year Children’s theater
46
Hwang Ha-young Drama/Theatre for the Young
B.A., Yonsei University
M.A., Ph.D., University of Exeter
Assistant Professor in Theatre Studies, National
University of Singapore
Co-Translation Editor, Asian Shakespeare Intercultural
Archive (A l S l I l A)
Conference Papers presented at IFTR, IDEA, ITYARN, etc.
Articles published in Drama, Play and Education,
Theatre and Education, Arts Education Series, etc.
Kim Son-ae Acting/Voice
B.A. and M.A. in Chemistry from Seoul National University
B.F.A. in Acting at Korea National University of Arts
M.A. in Voice Studies from Central School of Speech & Drama
Previously an instructor at Kookmin University,
the School of Drama, Hanyang University, Dongkuk
University, Seoul Institute of Arts, Dankuk University,
and Daejin University
Previously a visiting professor at Kookmin University
Conversationalist instruction; <Seagull>,
<Antigone>, <Oedipus>
Kim Soo-gi Acting/Performance
B.A., English Language and Literature, Korea University
M.A., Theatre and Drama, University of WisconsinMadison, USA
M.F.A., Theatre and Drama, University of
Wisconsin-Madison, USA
Acting; <Approach/Avoidance>, <Tales from South
Asia>, <Sarachi>, etc.
Nam Geung-ho Mime/Movement
B.A., Theatre and Movie, Kyeong-Sung University
Diplome in Ecole Internationale De Mimodrame De
Paris Marcel Marceau, France
M.F.A., Theatre, University of PARIS 8, France
Acting; <Le chariot des comiques>, <L’ homme qui
voulait rester debout>, etc.
Directing & Acting; <Two men>, <4-59>, etc.
Prize of Acting Mimos international mime festival
in France <4-59>
Park Sang-ha Acting/Directing
B.A., M.A., English, Pusan National University
M.F.A., Acting, Boris Schukin Theatre College of
Higher Education, Russia
Ph.D., Theatre, Russian Academy of Theatre
Arts(GITIS), Russia
Director of Korean Association for Theatre
Education, 2007-Present
Workshop; Stanislavsky’s Workshop Milyang Theatre
Village, Monographs H. Pinter’s The Caretaker
as the Game, etc.
Directing; <Uncle Vanya>, <Silence>, etc.
Seo Chung-sik Acting/Directing
Graduated from Theatre Department in Seoul
Institute of the Arts
Graduated from Dept. of Acting in Real Escuela
Superior de Arte Dramático y Danza de Madrid, Spain
Board member of Korean Association For Theatre
Education, etc.
Acting; <Theatre M. Butterfly>, Film <Sund@y Seoul>,
<TV Tango> Spain, etc.
Directing; <The taming of the shrew>, <Cyrano>, etc.
School of Drama
47
Directing
48
Directors are the designers of the stage and
the drivers of imagination who breathe life
into words and texts. Moreover, they act as
conductors who integrate, organize and lead the
whole performance process, handling human
and material resources as well as mental and
psychological factors. Therefore, unlike artists
in other genres who work independently,
directors are required to have not only an indepth understanding of all the elements of
theatrical performances, but also a broad level
of interest in the arts in general, as well as an
insight into current issues and people more
generally. The Department of Directing nurtures
directors not as stage technicians and engineers,
but as “dramatists” capable of leading the next
generation of drama. The first- and second-year
curricula focus on the basics and practice of the
theatrical production process, while the thirdand fourth-year curricula as well as the graduate
program focus on helping students explore and
discover themselves as dramatists and complete
their own production through experiments
and performances. Undergraduates have the
opportunity to direct two graduation projects,
while graduates direct three performances. In
addition, students participate in their professors’
works as production staff, as well as participating
in practice production with directors in
the field, presenting their own individual
productions multiple times, and participating
in incubator performances. Graduates also have
the opportunity to start building their career
through ‘Dolgoji’, the theatrical company run by
the School of Drama.
facult y
Kim Suk-man Directing/Acting
B.A., Dramatic Arts, Berkeley University
of California, Berkeley, USA
M.A., Performance Studies. New York University, USA
Artistic Director of Seoul Metropolitan Theater Company
Directing; <Years of Mr. Han>, <The Crying Bird
in the Periphery>, <The Heaven in Dream>, etc.
Published; <The World of Acting>, etc.
The Best Director Korea Baeksang Arts Award,
The Best Director Dong-A Drama Award
Lee Sang-woo Playwriting/Directing
B.A., Aesthetics, Seoul National University
Playwriting & Directing; <Chilsoo & Mansoo>,
<Story of old Pilferers>, <Be-an-so>, <Hunt a Pig>,
<Thereabout>, <Bion>, etc.
The Best Director Baeksang Arts Award, The Best
Director Dong-a Theater Award
Park Geun-hyung Directing
B.A., Dae Jin University
Associate Professor, Seoul College of Arts
Representative Director of “Gol-mok-gil(Alley)
Theatre Company”
The Best Play, The Best Playwriting, The Best Directing
Dong-A Theatre Award, The Best Play Daesan Literary
Award, The Best Play Baeksang Art Award
Today’s Young Artist Award by Ministry of Culture,
Sports & Tourism
Playwriting
The Department of Playwriting runs the
Playwriting major and Narrative Writing major.
The Playwriting major aims to produce
playwrights whose works raise fresh questions
about human life based on insight that can
sensitively penetrate the delicate layers of life
and hidden depth of humans, along with an
organizing power that can dramatize any kind of
material into something “trivial yet profoundly
significant”. The curriculum is designed to
promote student’s dramaturgic ability to enable
them to complete a play by themselves through
developing their individuality in terms of form
and content, creativity related to originality.
What’s more, students explore the ‘Korean
archetype’ of drama, which has a demonstrable
global competitive edge.
The Narrative Writing major fosters ‘creative
fiction writers’ who express themselves with
precise and unique language based both
on sensitivity that values the trivial and on
humanistic imagination that sees through
temporal phenomena to the eternal. It avoids
the traps of conventional creative writing
education focused on grammar and it eschews
the inertia of existing genres in order to nurture
writers with unexpected ideation, challenging
spirit and breadth of artistic experience. The
curriculum also provides active support for
interdisciplinary activities, with the education
of genre convergence that promotes dynamic
feedback among different genres. Students do
not merely write traditional novels or poetry, but
play with the interfaces with other arts through
ongoing experiments designed to implement
‘New Fiction Writing’ and ‘Mix of Creative
Writing’. Required major courses are minimized
for students to choose from the School’s great
variety of art education programs according to
their own interest and design their own rough
sketch of the curriculum.
facult y
Hwang Jae-woo Creative Writing/Poetry
B.A., Seoul National University
M.A., Seoul National University
Ph.D., Hong-ik University
Poetry prize at Joongang newspaper annual
spring literary contest,
Prizes at Kim Sooyoung literary contest and
Contemporary literary contest, and The First Prize at
Sowoel Poetry and Baekseok literary contests
Former President of Korea National University of Arts
Kim Kwang-lim Playwriting/Directing
B.A., French Literature, Seoul National University
M.A., Theater Arts, University of California, Los Angeles
Artistic Director of Seoul International Performing
Arts Festival
Directing; <Come and See Me>, <Hongdongji Play>,
<Wuturi>, etc.
Published; Plays by Kim Kwang Lim vol 1-7,
various plays, etc.
Grand Prize, Best Director, Best Play Baeksang Arts
Award, Best Director Dong-a Theater Award, etc.
Kim Kyung-wook Creative Writing/Novel
M.A., Korean Literature, Seoul National University
B.A., English, Seoul National University
Ulsan University, Assistant Professor, 1980-1983.
Books : <Acropolis>, <Morrison Hotel>, <Golden
Apple>, <Millenium Kingdom>, <Like A Fairy Tale>
Novel Collection : <No Coffee at Bagdad Cafe>,
<Going To See Betty>, <Who Murdered Kurt Cobain>,
<Leslie Cheung Is Dead?>, <Dangerous Reading>
The 37th Hankook Daily Literature Award (2004), The
53rd Hyundai Literature Award (2007), The 40th Dongin
Literature Award (2009)
Kim Tae-woong Playwriting/Directing
B.A., Philosophy, Seoul National University
M.F.A., Playwriting, Korea National University of Arts
Playwritings; <Confession>, <Yi>, <Happy Life>,
<Symphony Ballon>, <The Flying of Flies>, <Ring, Ring,
Ring, Ring>, etc.
The Playwriting Award Seoul Performing Arts Festival,
Dong-A Theatre Prize, Best 3 & Best 5 of the Year Prizes
Kwon heecheol Literary Criticism
B.A., Ph.D. in Korean Literature, Seoul National University
Editorial board member for Munhakdongne
Book: <Become your face>, <Cinema and Literature>
(co-authored), <Crossing borderline of Lee-Sang and
Becoming of poetry> (co-authored), <Thirteen children
are running on the road> (co-authored)
Park Sang-hyeon Playwriting/Directing
M.A., Theatre, Miami University, USA
Playwrighting & Directing; <Four Thousand Days’
Nights>, <peretta Die Fledermaus>, <Ma’am of 405 is
Very Kindhearted>, <A Series of Terrorists’ Stories>, etc.
Best 3 selected by The Association of Korea Theatre Critics
Daesan Award of Literature in Play, etc.
School of Drama
49
Stage Design
The Department of Stage Design aims to foster
leaders who are in charge of the visual aspects of
the performing arts such as stage design, lighting
and costume, as well as creative artists who can
actively deal with the changing environments and
media. Grounded on education for historical,
social and humanistic knowledge, the Department
strives to produce stage artists with relevant
insight through theory-based courses focused
on practice. The years are divided between the
first and second year, and the third and fourth
year. Students in the lower years take courses on
humanities along with courses that help build a
basic knowledge of specialized courses such as
modeling, stagecraft and computer-aided design.
The Department focuses on helping students
learn about the collaborative work process of
performing arts and stage design, and discover
and develop individual aptitudes and talents.
Students in the higher years can build their handson stage experience by actively participating in
not only practical courses, but also repertoire
performances and production, as well as project
performances as designers and crew members.
facult y
Choi Sang-chul Stage Design
B.A., Application Art, Hongik University
M.A., Scene Design, Hongik University
Exhibitions; <Asia Scenography> Japan, <PQ ‘95>
Czech Republic, etc.
Stage Design; <Flow in You>, <Be river of Joy>,
<Hamlet III, IV, V>, <Rashyomong>, <SangHaw &
SangHaw>, <Bari princess>, etc.
Dramaturgy & Directing; <Hamlet in Blue>,
<Marie: Woyzeck>, etc.
Published; <How to the read SCENOGRAPHY>, etc.
Ko Hee-sun Lighting Design
B.A., Psychology, Yonsei University
M.A., Stage Design, University of Wisconsin-Madison, USA
M.F.A., Stage Lighting Design, University of MichiganAnn Arbor, USA
Lighting Design; <Le Nozze di Figaro>, <Cosi Fan Tutte>,
<Chunhyang>, <Hamlet>, <Life’ a Dream>
ACTF Kennedy Center Stage Lighting Design Grand
prix, Seoul Theatre Festival Theatre Design Award
Min Un-oc Production Design
B.F.A., Applied design, Hongik University
M.F.A., Production design, American Film Institute, USA
Production design/Set design; mini-series and dramas
of Munwha Broadcasting Corporation
Production design; Film and Television <Blood Rain>,
<Chunhyang>, <Princess Hours>, etc.
Seoul Drama Award, Best Art Directing Daejong
Film Award, etc.
Yoon Jung-seop Stage Design
B.A., Sculpture, Seoul National University
M.A., Stage Design, Hongik University
Stage Design; <Macbeth>, <Hairdresser>, etc.
Designed stages at the eve festival of the 2002 World
Cup and the Daejeon Expo opening ceremony
Best Design Korea Musical Award, Best Design
The Blue Dragon Film Award, Best Artist of the year
National Modern Art Gallery, etc.
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School of Drama
51
Theatre
Studies
The Department of Theatre Studies offers
the Theatre Studies major and the Theatre
Management major.
The Theatre Studies major nurtures art critics
with outstanding artistic insight and sensitivity,
and production dramaturges who can combine
theory and practice. In other words, the
Department fosters professionals who can elevate
Korea’s position within the context of global
theatre, precisely analyze and chart contemporary
plays, forecast the future direction of Korean
theatre and reflect it in creation. Students can
select their majors according to their interest
and choice: Criticism, Theatre History, Dramatic
Theory, and Dramaturgy. Practical training and
field education are emphasized so that students
can understand the actual staging process and
combine theory with practice. They learn the
basics of theatrical processes through courses
such as Acting, Theatre Crafts, and Introduction
to Theatre Directing, and engage with specific
methodologies connecting theory and practice
through courses such as Adaptation of Traditional
Performing Arts, Dramaturgy Workshop,
and Criticism Workshop. Moreover, students
understand the theoretical aspects underpinning
contemporary drama through courses such as
Dramatic Theory & Criticism and Development
of Experimental Theatre. Students discuss works
in performance, and write and present reviews.
They can also work as dramaturges of on-campus
as well as off-campus performances.
The Theatre Management major fosters
specialized art managers capable of mediating the
entire process of the creation and adaptation of
performing arts and managing it systematically
and efficiently. The curriculum aims to produce
performance planners and administrators,
theatre operators, and other professionals
who can contribute greatly to related fields of
arts. For this reason, the curriculum actively
seeks to stimulate new areas of demand for the
performing arts, increases the supply of highquality contents and, ultimately, seeks to promote
the performing arts. The Theatre Management
major is divided between a curriculum that helps
students understand performing arts in general
and a curriculum that offers students the chance
to study practical management skills related
to a career in the performing arts and related
organizations. The former enables students to
experiment with the practice of the performing
52
arts based on refinement of the performing arts,
judgment and language skills, as well as learning
about the knowledge and theories underpinning
the performing arts. The latter route offers
theoretical courses that explore the Management
of Performing Arts Cultural Economics and
include the field of theatre management, along
with practical courses such as Theatre Operation
Workshop and Field Workshop.
facult y
Choe Junho Theatre Studies/Art Management
B.A., M.A., French Language & Literature,
Sungkyunkwan University
D.E.A., Docteur, Theatre, University of Paris 3, France
Director of Korea Cultural Center in Paris, performing
arts director of Seoul Arts Center
(Present) General art director for the Year of KoreaFrance Bilateral Exchanges, director of King Sejong
Institute and Korea Arts Management Service
2005. Chevalier de Palmes Academiques
2007. Officier des Arts et Lettres
Kim Mi-hee Theatre Criticism/Dramaturgy
B.A., M.A. & Ph. D., English Literature and Linguistics,
Korea University
M.F.A., Theatre Criticism and Dramaturgy, Yale University, USA
Executive Officer of Korean Association of Theatre Studies,
Chief Editor of Theatrical Theory and Criticism, etc.
Dramaturgy; <Come to See Me>, <That Dance Once
Again That Dance>, <Arirang>, <Titus Andronicus>, etc.
Kim Yun-cheol Theatre Criticism
B.A., English Education, Seoul National University
M.A., Theatre and Cinematic Arts, Choong Ang Unviersity
Ph. D., Theatre and Cinematic Arts, Brigham Young
University, USA
President of International Association of Theatre Critics, etc.
Published; <Reading of Contemporary American
Drama I, II>, etc.
The Critic of the Year Award. Yoh Suk-Kee Prize for
Theatre Criticism, Order of Culture Ministry of Culture
Cooperative
Program for
Creation of
Musical Play
graduate program
The Cooperative Program for the Creation of
Musical Play inherits the tradition of Korea’s
outstanding musicals, rather than imitating the
foreign legacy of America’s Broadway or England’s
West End. Moreover, the Program intends to
produce Korea’s own creative musicals that filter
our traditions in a new sense. Musical education
is not concentrated on a specific genre. Indeed,
to maximize genre-crossover, this program was
established in 2009 as a Cooperative Program,
and has been directly supervised by the School
of Drama since 2013. K-Arts is the only school
equipped with a creative system that embraces
everything from production to marketing,
with a curriculum designed to lead directly to
production. The Creation of Musical Play offers
Korea’s first complete education system for
musical creation. As such, it plays the key role in
the development of Korean musicals predicated
on the success of its high-quality musicals. The
Cooperative Program for Creation of Musical
Play is a three-year graduate program, and is
subdivided into Playwriting and Lyric Making
major and Composition major. Focusing on the
practice of writing scripts and lyrics as well as
composing, the curriculum offers courses focused
on both theory and practice, such as the history
and literature of musicals, work analysis and
collaboration of lyric making and composition,
and the practice of musical production, with
extensive internship opportunities available.
facult y
Nam Geung-ho Mime/Movement
B.A., Theatre and Movie, Kyeong-Sung University
Diplome in Ecole Internationale De Mimodrame De
Paris Marcel Marceau, France
M.F.A., Theatre, University of PARIS 8, France
Acting; <Le chariot des comiques>, <L’ homme qui
voulait rester debout>, etc.
Directing & Acting; <Two men>, <4-59>, etc.
Prize of Acting Mimos international mime festival
in France <4-59>
Lee Mee-won Theatre Studies
B.A., Korean Language & Literature, Seoul National
University
M.A., Drama & Theatre, Indiana University, USA
Ph. D., Theatre, University of Pittsburgh, USA
Vice president & Executive member of Korean Theatre
Studies Association, Vice president & Executive
member of Korean Association of Theatre Critics
Published; <Korean Modern Drama>, <Postmodern
Period and Contemporary Korean Theatre>,
<Globalization and Deconstruction in Contemporary
Korean Theatre>, etc.
Yeosukgi Theatre Critic’s Award 2001
Lee Seung-yeop Art Management
B.A. & M.A. in French Language and Literature from
Seoul National University
President of Korean Association of Arts Management,
Director of the Art Management Support Center Foundation
Artistic Director of Uijeonboo International Music
Theater Festival and Hi-Seoul Festival
School of Drama
53
54
School of Drama
55
Admissions
Guide
The most distinctive feature of the admission
system of the undergraduate program in the School
of Drama is that students are selected solely on
the basis of the practical test set by the School of
Drama, without reflecting the scores for the College
Scholastic Ability Test (CSAT). The system is focused
on the performance of students as demanded by
the practical tests of each major through a thorough
assessment of their current abilities and future
potential. Each Department subdivides the types
of practical tests in order to assess the applicants’
abilities across multiple talent indicators. Moreover,
to assess students’ creative thinking skills and
qualification to become an artist, each student
must take an examination to evaluate the ability to
understand and express Korean text, through which
their logical thinking skills and artistic sensitivity are
tested as well.
advance. The secondary practical test evaluates the
students’ ability to analyze and express dramatic
pieces based on their core qualifications as actors,
as well as their ability to convey emotional depth.
Students perform a monologue of an assigned
play. They also show their movement ability or
sing a song from a musical in order to assess their
ability to express their bodies organically through
movements and poses, while conveying rhythmic
sense and concentration, and a functional singing
ability. In addition, students take a written test for
an evaluation of their imagination, expressiveness
and intellectual capacity to think creatively based
on the topics provided by the School. Finally, the
oral test evaluates the students’ understanding and
expressiveness of works through questions and
answers that focus on their presence as actors.
Acting
The Department of Directing selects students by
assessing their creative thinking skills and narrative
composition skills. To assess creative thinking
skills, students are required to interpret the tasks
set in the test using their own unique sense. This
test evaluates whether the student can express
a certain feeling or world upon encountering an
image, using sentences that include significant
symbols, metaphors, irony and paradox, and
whether the student can specify these matters and
incorporate them within coherent, clear and cogent
The Department of Acting selects students through
an initial practical test, a secondary practical
test, a written test and an oral test. The initial
practical test evaluates the core qualifications of
students as actors. To evaluate their analytic skills
and understanding of the dialogue, breathing,
vocalization and pronunciation, students
must perform an improvisatory piece with the
dialogue provided by the School on the day of the
examination, as well as a monologue prepared in
Directing
sentences. To assess narrative composition skills,
students are tested for their imagination and written
skills regarding the composition of events, solving
tasks that test their ability to organize a narrative
that includes a few important motifs. The oral test
consists of questions on designated plays that were
indicated in the examination requirements, as well
as questions to assess the students’ attitude and
qualification as producers.
Playwriting
The Playwriting major of the Department of
Playwriting selects students by assessing their
creative thinking and story composition skills.
Students are required to interpret the tasks set
in the test using their own unique sense, which
is a test of their creative thinking skills. This test
evaluates whether the writer can express a certain
feeling or world upon encountering set tasks,
while using sentences that include significant
symbols, metaphors, irony and paradox. To assess
story composition skills, students are required
to display their creative story composition skills
using structures. In other words, students are
assessed on their ability to expand and amplify the
significance of a story through content and form,
organize the story based on events and actions, and
dynamically perceive the motifs and purpose of the
actions, as well as any elements that hinder them.
The Creative Writing major shortlists applicants
based on an assessment of creative thinking skills
and academic reports. On the basis of this shortlist,
it then selects final students through two written
tests and an oral test. The written test includes
free writing in which students watch an audiovisual
material and freely write about associations of
ideas, and designated writing in which students
compose a story fulfilling the requirements. These
two written tests assess students’ sensitivity,
imagination and insight.
Stage Design
The Department of Stage Design selects students
through the first practical test, second practical test,
written test and interview. The first examination,
which is drawing, is designed to assess basic
observation skills and expressiveness. Applicants
who passed the first examination participate in the
second examination for three days, undergoing a
practical test, a written test and an interview. The
practical test in the second examination evaluates
creativity through requiring students to reorganize
and express the given tasks. The written test
assesses the students’ ability to express their
thoughts in writing, with a focus on intellectual
thinking and written skills. Finally, in the oral test,
students explain their study plans and present their
works, through which they are evaluated for their
potential and possibility as integrated and creative
artists.
Theatre Studies
The Theatre Studies major of the Department
of Theatre Studies selects students through an
initial essay test and a secondary written test that
assess the applicants’ interest in general culture
or typical social phenomena, logical thinking skills
and argument development, expressiveness as
defined by their ability to put their thoughts in
writing coherently, and persuasive power defined
as the ability to make other people empathize
with their thoughts. The scoring criteria include
thinking skills, logical written skills, perception on
social phenomena and general culture, and written
skills. Students are awarded extra points when
they develop their unique perspective in a logically
persuasive manner, that is, when they display
creative written skills.
The Theatre Management major shortlists applicants
based on the assessment of creative thinking skills
that test the applicants’ logical thinking skills and
artistic sensitivity in dealing with the given task,
combined with the English test (common test
for all undergraduate programs) and high school
records. The secondary examination then selects
the final students from the shortlist with an essay
test that evaluates the students’ ability to express
their thoughts on the given question based on the
contents provided on the day of the examination, as
well as an oral test in which students are asked about
what they wrote for the essay.
Cooperative Program for Creation of
Musical Play (graduate program)
The entrance examination of the Cooperative
Program for Creation of Musical Play (threeyear graduate program) is divided into those of
the Composition major and Playwriting and Lyric
Making major. The Composition major assesses
core composition skills and creativity in composing
music for different scenes of a musical. Students
are required to take a test in which they write songs
according to the given lyrics, including a piano
accompaniment, along with a piano performance
test, English test, and oral test. The Playwriting and
Lyric Making major require a basic understanding of
musicals, playwriting skills and an understanding of
composition. Students are required to take a test in
which they write a ten-minute-long scene, including
song lyrics according to a given situation, as well
as a test in which students add lyrics to the given
melody, English test, and oral test.
School of Drama
57
Major
Facilities
Experimental Stage & Box Stages 1, 2
Computer Lab
This venue is exclusively for repertoire performances
and production projects of students. Equipped with
sound and lighting equipment including spotlights
and ellipsoidal reflector ellipsoidal reflector
spotlights, its box-shaped structure is designed for
various theatrical experiments, with variable stage
and seating arrangements.
This lab is for computer classes, and it is furnished
with computers, scanners and ink-jet printers.
Rehearsal Room
This room is for practical acting courses and
rehearsals of performances and productions,
in which various acting courses on movement,
breathing and phonation take place. Students
can use the room outside of classes for individual
rehearsals or scene readings. Equipped with a
wooden floor, the room has an A/V system and a
piano, along with a ballet bar and a mirror.
Costume Making Studio
Playwriting Room
Writing courses such as drama and playwriting
take place in this room, which is equipped with
computers and printers. Playwriting majors interact
with one other in this room, which acts as a venue
for discussions and seminars, nurturing students
into creative playwrights.
Seminar Room
This room is bigger than others and is shared by
five Departments for multiple purposes, particularly
for theoretical lectures. The seminar room is a
lecture hall for all kinds of classes, such as lectures,
seminars, colloquiums and symposiums, and it is
equipped with an A/V system and tables.
Courses on costume making, such as stage
costume design, take place in this studio, which
is equipped with sewing machines. In addition to
classes, the studio also acts as a venue for students
to create the stage costumes required for all
performances produced at the School of Drama. As
such, this space is designed to improve the practical
skills of fashion design majors.
Stage Design Studio
This studio, equipped with drawing and work
stands, is for courses on stage production, such
as stage design. In addition to classes, the studio
is designed for students to work on stage art
processes required for all performances produced
in the School of Drama, such as stage design and
graphic design.
Box Stage
58
Stage Design Studio
Affiliated
Institutions
Dolgoji
Dolgoji, a theatrical company run by the School
of Drama, is a central part of the School of Drama
dedicated to practical education. The relationship
between the School and Dolgoji can be compared
to that between a medical school and its university
hospital. Dolgoji contributes to the world of
performing arts through well-produced and thoughtprovoking works, using the outstanding experts
(faculty and professional staff) and spaces of the
School of Drama. It provides an opportunity for
many people to enjoy culture and arts by performing
a diverse repertoire in local communities and
culturally underprivileged areas, which makes for an
education that is high on impact.
Performance is at the heart of the Dolgoji way,
and it expressly seeks greater interaction with
drama schools around the world, in addition to
the core set of affiliated theatrical companies.
Dolgoji has been invited to give performances at
many world-renowned performing arts festivals
and organizations, producing global PR effects
and playing a key role in expanding cross-industry
cooperation between the School and its graduates.
Dolgoji first gave the preparatory performance
<Spring Awakening> (written by Wedekind/
directed by Jo Tae-joon) in 2001 at the Towol Theater
of Seoul Arts Center. It then gave the founding
performance of <Our Country’s Uturi> (written and
directed by Kim Gwang-rim) in 2002 at the Jayu
Theater of Seoul Arts Center, after which it gave a
variety of performances, including <Misaengja>
(written by Yoon Young-sun/ directed by Lee Sangwoo), <Aster> (written and directed by Choo Minju), <Mirror Princess Pyeonggang> (written by
Choi Eun-ee, Min Jun-ho/ directed by Min Jun-ho),
<Finding Mr. Destiny> (written and directed by
Chang Yoo-jung), <The Bridge> (written and directed
by Peter. W. Willson), <Heavy Water> (written and
directed by Yoon Jeong-seop), <Birds in the DMZ>
(dramatized/directed by Eli Simon Kim Seok-man),
<K> (dramatized/directed by David Pledger), <Your
Story> (written by Ko Jae-gwi/directed by Kim
Hyeon-woo), <What You Mean> (written by Kim
Tae-hyeong/ directed by Lee Jong-seong), <Model
Students> (written by Ji Ee-seon/ directed by Kim
Tae-hyeong), and <Flower Thrown into the Wind>
(written by Lee Ji-hong/ directed by Cho Gyusang). In terms of international exchange, Dolgoji
first participated in the 7th Realistic Drama Festival
held in 2003 in Yekaterinburg, Russia. In 2004, it
gave a performance in Paris, France. Dolgoji also
participated in the Korea-UK Theatre in Education
(TIE) Project at Birmingham Repertory Theatre, the
UK in 2005, and, the same year, it hosted the KoreaAustralia Project <K> at Arko Arts Theatre in Seoul.
Repertory performance <Dolgoji Good Man>, 2014
School of Drama
59
영상원
School of Film, TV
& Multimedia
Dept. of Filmmaking
Dept. of Broadcasting
Dept. of Multimedia
Dept. of Animation
Dept. of Cinema Studies
The School of Film, TV & Multimedia is Korea’s first national institute for film, TV and multimedia designed to nurture experts capable of creating new visual works through visual media and modern technology. The School of Film,
TV & Multimedia offers the undergraduate and graduate program in five Departments: Filmmaking, Broadcasting,
Multimedia, Animation, and Cinema Studies. The curriculum provides practice-based and theoretical courses covering critical analysis of media arts designed to enable students to produce creative works. Since works of media arts
are created through cooperation among various people, each Department emphasizes interdisciplinary exploration,
respecting special areas and expertise, having a broad understanding of the rapidly changing media environment
and cultural phenomena, and fostering an independent ability to take appropriate measures. The School strives to
produce experts with critical views and executive production ability by offering fieldtrips so that students can participate in the established media production process. By providing wide-ranging experiences and experiments through
practice-based and theoretical courses, the School helps students seek the creativity in integrated media language
demanded in the new visual era. The School is proud to offer a 252-seat movie theater, a small and large film studio,
5 TV studios, over 90 practice rooms, and 12 preview rooms along with over 1,000 pieces of film equipment. The curriculum is designed for students to have hands-on experience in the media industry by attending various workshops
and presentations that demand technical completeness, annual student exhibitions, and graduation shows with
works in films, media and animation.
60
61
C urriculum
Dean’s Message
The curriculum of the School of Film, TV & Multimedia provides not only practice-oriented training but
also theoretical education based on critical analysis of media arts to enable students to produce creative
works of media arts based on highly skilled techniques. The core education policy of the School of Film,
TV & Multimedia is to value the interdisciplinary exploration required to gain a broad understanding
of the rapidly changing media environment and cultural phenomena and foster the independent skills
required to properly respond to them, while respecting and sustaining the special fields and expertise
of each Department. Since works of media arts are primarily created through close cooperation among
various people, the basic curriculum of the School of Film, TV & Multimedia is designed to focus on
courses commonly required by all Departments. This provides a shared basis for further discussion and
exploration through the intensive courses of each major that are designed to help students substantially
enhance their competencies in creative practice, planning and theories.
H istor y
Opening of the School of Film, TV & Multimedia with Department of Film Direction,
M a r . 1 9 9 5 Department of Film Production, Department of Media Design, and Department of
Scenario (Professor Choi Min as the 1st Dean of the School of Film, TV & Multimedia)
M a r. 19 9 7 Establishment of the Department of Animation
M a r. 19 9 8 Separation of the Department of Cinema Studies from the Department of Scenario
M a r . 1 9 9 9 Establishment of the graduate program for the Department of Film Direction and Production,
Department of Scenario, and Department of Cinema Studies
M a y . 1 9 9 9 Adjustment of departments: Department of Film Direction and Production and
Department of Scenario incorporated into Department of Filmmaking
M a r . 2 0 0 0 Establishment of the graduate program for the Department of Media Design and
Department of Animation
M a r . 2 0 0 1 Inauguration of the 2nd Dean (Professor Shim Kwang-hyun), establishment of the
Department of Broadcasting
M a y . 2 0 0 1 Renaming of the Department of Media Design to the Department of Multimedia, and the
Department of Video Cartoon to the Department of Animation
S e p . 2 0 0 4 Inauguration of the 3rd Dean (Professor Kim Hong-jun)
N o v . 2 0 0 5 Celebration of the 10th anniversary of the School of Film, TV & Multimedia
M a r . 2 0 0 7 Establishment of the graduate program for the Department of Broadcasting
Inauguration of the 4th Dean (Professor Park Se-hyung)
Relocation to the new Seokgwan-dong Campus, establishment of Asia’s best
media education infrastructure
M a r . 2 0 0 9 Inauguration of the 5th Dean (Professor Park Jong-won)
S e p . 2 0 0 9 Inauguration of the 6th Dean (Professor Park Kwang-su)
S e p . 2 0 11 Inauguration of the 7th Dean (Professor Chang Yoon-hee)
O c t . 2 0 1 2 Festival of the School of Film, TV & Multimedia in celebration of the 20th anniversary of K-Arts
S e p . 2 0 1 3 Inauguration of the 8th Dean (Professor Pyeon Jang-wan)
The School of Film, TV & Multimedia was established in March 1995 to
nurture production experts in the creative media arts who are capable of
producing outstanding media creations as part of the up-and-coming business
of the knowledge information society. The School offers an undergraduate and
graduate program in five Departments: Filmmaking, Broadcasting, Animation,
Multimedia, and Cinema Studies. We train talented individuals through a
practice-based curriculum avoiding ideological and conventional educational
approaches to reflect the contemporary reality of the media industry.
The School offers curricula that are suitable for media production and
theoretical studies in each Department to keep pace with the changes in the
digital production environment. It has also established the infrastructure
and educational equipment necessary for the production and postproduction of students’ works. In a world in which media convergence and
the diversification of genres and media culture have become universal, the
School of Film, TV & Multimedia seeks the intensification of specialized
media/genre education, interaction among media/genres, and promotion of
convergence education. As a result of these efforts, the works of students from
each Department of the School have won awards at various film and media
festivals in Korea and internationally. In addition, many graduates continue
to produce remarkable results in the media industry.
The School of Film, TV & Multimedia expands educational horizons by
offering international exchange programs to foster experts in not only
Korea, but also East Asia, which is set to lead the world in the 21st Century.
The School is in partnership with specialized media education institutes
representing China and Japan, and hosts joint international workshops in
which students visit other countries annually to create collaborative works.
By doing so, the School is positioning itself as the hub of specialized media
education in East Asia.
Upon entering its 20th year, the School of Film, TV & Multimedia, rather
than resting on its present achievements, will strive to be the leading national
media education institute globally, by offering a greater variety of educational
programs and seeking the optimum design of media education.
Dean of the School of Film, TV & Multimedia
Pyeon Jang-wan
62
63
Filmmaking
The goal of the Department of Filmmaking
is to foster specialized filmmakers with
creative and artistic sensitivity and ability, as
well as professional technical knowledge and
experience in the rapidly changing media era.
The curriculum offers intensive practical courses
by major, such as directing, screenwriting,
cinematography, editing, sound, and production.
It also provides various courses to reinforce
theoretical thinking skills to nurture experts with
specific production experience.
Curriculum focused on cultivating practical
expertise — The number of required courses
for major is minimized so that students can
experience various fields and acquire knowledge
in the actual field through discussions,
presentations and production classes. For
graduation, students must take all the required
courses for their major. There are four levels
of courses – beginner, basic, intermediate, and
advanced – for each year. One thing noteworthy
is that the intermediate level is from the second
semester of sophomore year to the first of junior
year. The second semester of the junior year
is a medium level between the intermediate
and advanced, offering courses such as Short
Scenario Workshop and Studio Workshop
for students to acquire practical expertise and
prepare for senior year.
Various workshop courses — Workshops on
various fields help students become experts
in each field based on detailed and specific
experiences in filmmaking. By participating in
workshops that value individual creativity and
freedom of thinking as well as workshops that
require specialized cooperative systems and
a high level of technical completion, students
gain the opportunity to understand each area
of filmmaking and display the professional and
specific knowledge they acquired through an
actual filmmaking environment. For graduation,
students are required to create at least three works
for each level (basic, intermediate, and advanced).
facult y
Choi Yong-bae Producing
B.A Seoul National University
Vice Prsedient of Korea Film Producer’s Association,
CEO at Chungerahm Film Corp
Producer; <26years>, <Host 3D>, <Hello, School
Girl>, <Sa-kwa>, <Cadaver>, <The Host>
Awarded Best Producer of the Year at Director’s Cut, etc.
Kim Hong-jun Directing/Screenwriting
M,M., Completion D.M.A., Temple University, USA
Festival director of Puchon International Fantastic Film
Festival, Chungmuro International Film Festival, etc.
Director; <Rosy Life>, <Jungle Story>, <My Korean
Cinema – Episode 1, 2, 3>, etc.
Kim Hyung-koo Cinematography
B.A., Photography, Chungang University
M.F.A., American Film Institute, USA
Director of Photography; <Nobody’s Daughter
Haewon>, <Unbowed>, <The Day he arrives>,
<Woman on the Beach>, <The Host>, <Memories
of Murder>, etc.
Best cinematography Blue Dragon Film Award, Korean
Grand Film Award, Asian Film Award, etc.
Park Hyun-cheol Cinematography
B.A., Chungang University
M.F.A., Cinematograhpy, American Film Institute, USA
Diploma in Cinematography, Korean Academy
of Film Arts
Member of Korean Society of Cinematographers
Cinematographer; <Mr.Go>, <Take Off>, <200 Pounds
Beauty>, <Oh! Brothers>, <YMCA Baseball Team>,
<She’s on Duty>, etc.
Kim Yang-il Film Editing
B.A., University Of New South Wales, Australia
B.A., Specialist Extension in Editing, AFTRS(Australian
Film, Television and Radio School), Australia
Editor; <Untold Scandal>, <My Mother, the Mermaid>,
<A Man who was Superman>,
Post production Supervisor; <A Petal>, etc.
Park Jong-won Directing
B.A., Theatre and Film, Hanyang University
M.F.A., Academy of Art University
Diploma in Directing, Korean Academy of Film Arts
Director and screen writer; <Guro Arirang>, <Our
Twisted Hero>, <Rainbow Trout>, <Paradise Villa>, etc.
Lee Chang-dong Directing/Screenwriting
B.A., Korean Literature, Kyungpook National University
Director and Screen writer; <Poetry>, <Secret Sunshine>,
<Oasis>, <Peppermint Candy>, <Green Fish>
Special Director’s Award Venice Film Festival <Oasis>, 2002
Best Actress prize, Cannes Film Festival <Secret
Sunshine>, 2007
Best Screenplay prize, Cannes Film Festival <Poetry>, 2002
Lee Jeong-beom Directing
B.F.A., Korea National University of Arts
Director of PiFan Youth Film Academy, judge of Film
Gate of Shin Younggyun Culture Art Foundation
Director; <Cruel Winter Blue>, <The Man From Nowhere>
Won Baeksang award for best picture, Korea Film
Awards, Chunsa Film Festival, rookie director prize
Park Kwang-su Directing
B.A., Fine Art, Seoul National University
Film school E.S.E.C in France
Deputy director of BIFF (Busan International Film Festival)
Director; <Meet Mr. Daddy>, <The Uprising>,
<A Single Spark>, <To the Starry Island>, <Berlin
Report>, <Chil-su and Man-su>, etc.
Pyeon Jang-wan Directing
B.A., Chungang University
M.A., New York University, USA
Diploma in Film Directing, Korean Academy
of Film Arts
Director of Moving Image Technology
Association of Korea
Film Producer; <Summer Whispers>, etc.
Lee Kyu-suk Sound Design
B.M., Electronic Engineering, Korea University
M.F.A., Film&Video Production, University of South
California, USA
Sound Supervisor(Mixing); <Stake Out>, <The Legend
of the Evil Lake>, <Jealousy Is My Middle Name>,
<Bichunmoo>, <2009 Lost Memories>, etc.
Best Sound 39th Daejong Film Award <2009 Lost Memories>
Lee Seung-moo Directing
M.A., Dongguk University
M.A., Cinema Studies, New York University, USA
M.F.A., Filmmaking, New York University, USA
Director; <Worrior’s Way>, Screenwriter; <The Legend
of the Evil Lake>
Awarded Spain Alemria Western Film Festival
Audience Choice Prize
Oh Myoung-hoon Directing
M.F.A., New York University
Director; <Sunday@Seoul>
Assistant Director; KBS Special Drama, SBS Special Drama
Dragon & Tiger’s Special Mention 2004 Vancouver
Film Festival
Film <Sprout>, Yoon Ga-eun, 2014
64
65
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67
Broadcasting
The broadcasting environment is rapidly
changing. Based on some of Korea’s top-level
faculty members, facilities and equipment, the
Department of Broadcasting aims to nurture
enterprising and creative image creators that will
lead the rapidly changing media environment.
The goal is to produce creators with experimental
forms and unique content required by the new
era in the 21st Century. To cultivate such abilities,
the Department offers production programs
similar to the actual production settings, as
well as various systematic theoretical courses to
complement those programs.
Workshop-based courses for creation —
The basic curriculum of the Department
consists of multiple workshop courses. For the
undergraduate program, students who acquired
the basic rules of storytelling are required to
take workshop courses that are systematically
associated, such as studio and documentary
workshops, as they move up to the next level. The
skills acquired by students through the creative
workshops are ultimately summarized and
displayed in their graduation projects. The twoyear graduate program also focuses on creation
of works through workshops and graduation
projects. To complement the workshops, various
courses on cinematography, editing, sound,
screenwriting and theories are provided.
facult y
Han Sung-soo Cinematography
B.A., Theater and Film Studies, Chungang University
M.A., Broadcasting, Yonsei University
Cinematographer of SBS(Seoul Broadcasting System)
& SBS-Newstech, CHEIL Communication Inc.
Work; <Farewell To Songba(SBS)>, <EUROASIA>, <The Amazon : Expedition to The New
World>, <Unanswered Question>, <The Report
of Pyungyang>
Jeon Gyu-chan Broadcasting Theory/Cristicism
M.A., University of Illinois At Chicago, USA
Ph.D., University of Wisconsin, USA
Chief Researcher of Korean Broadcasting Institute
Work; <Reconstruction of Monologic Space>,
<Recovery of Communicative Space>
Distinguished Scholar Award 2005 Korean Journalism
Studies Association
Kim Dong-won Documentary Direction
B.A., M.A., Mass Communications, Sogang University
Invited to Berlin International Film Festival
<The 6 days struggle at the Myong Dong Cathedral>,
Yamagata International Documentary Film Festival
<Repartriation>, etc.
Expression of Freedom Award Sundance Film Festival
2004, Best Documentary Award 2nd Asian Pacific
Screen Award 2008, etc.
Kim Jin-hyuk Documentary Direction
B.A., Hanyang University
EBS Producer(2002~13)
Works; <Jisik-Channel e>, <Wonderful Science>, etc.
Systematic convergence of theory and practice
— The Department offers various production
curricula for students to learn in depth about
the general aspects and detailed processes of TV
contents production, such as producing, directing,
cinematography, editing and sound. Theoretical
and methodological courses are also emphasized
as they help students gain in-depth and critical
insights about cultural and social phenomena, in
order to produce real TV content creators. To this
end, the Department offers courses that enable
students to have a comprehensive understanding
of media aesthetics as well as humanities and
sociology in a modern society, and that arouse
all kinds of intellectual curiosity about the digital
media environment represented by multichannel
and multimedia.
68
69
Multimedia
The goal of the Department of Multimedia
is to nurture experts in the field of high-tech
media production by offering theoretical and
technological courses required for digital media
production. Based on the promotion of organic
correlations among film, TV and animation as
well as various experiences and experiments of
digital media, students can foster the ability to
express new forms of images demanded in the
era of digital media, and seek creativity in the
integrated media language.
Systematic education on the basic elements
of media language — The basic courses focus
on comprehensive understanding of various
media languages and expressions. The courses
help students precisely systemize the concepts
and expressions of the basic elements of media
language, and learn about the conceptual and
technical methods to express their imagination
and intention with accuracy and abundance.
The intermediate and advanced courses focus on
enabling students to systematically understand
the characteristics of commercial media
production and post-production, and to have
an in-depth comprehension of the features of
various fields.
Step-by-step courses to promote expertise and
creativity — Starting with the production of
media contents using digital graphics production
techniques, students produce 2D and 3D
computer graphics created on a computer to
enhance the completeness of live action images
step by step. In addition, they can cultivate the
ability to combine live action images with digital
graphics. As an output of the 4-year program,
students are required to produce and submit
videos using the digital graphics production
techniques, being in charge of the whole process
based on their unique conception and planning.
facult y
Chang Yoon-hee Graphic Design
B.F.A., M.S., Communications Design-Emphasis in
Graphic Design, Pratt Institute, USA
Graphic Designer of Network Design New York, USA
Designer of Samsung Electronics Co. Ltd/ Samsung
Research & Development Center/ Architectural
Graphic Signage Design/ International associate of
theatre critics extraordinary
Design Committee Member of 2014 Pyeong-Chang
Olympic Winter Games Candidate City
Cho Pung-youn Direction of Commercial Film
B.A., Graphic Design, Seoul National University
Established CODA Film Production Company(CEO,
Commercial Film Director)
More than 400 TV CFs, Music Videos, SP Film produced
Finalist International Advertising Awards New York
Festival, 2002/ Grand-prix Prize MKMF Music Video
Festival, 2005/ Excellence Prize Korea Advertising
Awards, etc.
Han Sang-jin Multimedia (Visual Graphics)
École Des Arts Appliqués Mjm(Diplôme), France
Framemotion CEO and VFX Supervisor
Graphic Designer of LiBRE & OCCUPE Inc., A&C KOLON
Work; SBS TV Drama Series <My girl>, KBS TV
Documentary Series <HD History Special>, MBC TV
Series <M>, <Entre chien et loop>, etc.
Lee Sung-eun Computer Graphics
B.F.A., M.F.A. Seoul National University
M.F.A., Computer Graphics, Pratt Institute, USA
Previously employed at Multimedia Division,
Samsung Electronics Corp.
Thesis: <A Study in Aspects of Pictorial
Expressions of Human Body>, etc.
Projects; Planning/Development of Educational
Softwares
The graduate program helps students acquire
theories and techniques on the state-of-the-art
multimedia production, enhance completeness
of digital graphic images, and produce creative
works based on their individual originality.
To this end, students are required to submit
videos based on their creativity as an output of
the three-year program, undergoing a series of
experiments and researches about the correlation
and technical convergence between live action
images and digital graphics.
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71
Multimedia
The goal of the Department of Animation is to
nurture professional animation artists of the
21st Century that can embrace creative contents
and software in the new media environment.
The Department explores new ways of creation
and offers curricula combined with theory
and practice in order to cultivate the ability to
practice animation-based forms, modern image
technologies and new media.
New education and methodology to cope with
the changing environment — The Department
offers a curriculum designed to foster talented
individuals in the 21st-century animation arts
who can overcome the limitations of comics and
cell animation in Korea, and embrace creative
contents and software in the changing theatrical
environment, multimedia and new technology.
The goal is to explore new approaches of
creation that reinvents animation in the form
of publications, visual images and multimedia
programs. Theoretic and practical courses are
offered for students to practice production
based on images and storytelling and to foster
the ability to comprehensively deal with the new
media environment.
Rigorous curriculum — The curriculum only
consists of major courses for all four years
without liberal arts courses. Each year, students
are required to submit a complete short
animation film, which must be presented in
the annual show held every November. To this
end, the students give three presentations every
year, and submit a complete version at the end.
Their intensive training for this presentation
improves their individual ability, which leads
them to win all kinds of animation awards in
Korea as well as abroad.
facult y
Joo Wan-soo Illustration/Strip Cartoon
B.A., Fine Arts, Hongik University
M.A., Arts Education, Hanyang University
Chief of Korean Cartoon & Comics Studio(KOCAS) /
Geulnongulimbat(comics publisher)
Published; <Comics Imagines Beyond Comics>,
<Amuse in the Field of Korean Web Cartoon>
Serial publication; Newspapers(Donga/Hankyoreh/
Munwha/Shindonga), Mal, National Assembly Review, etc.
Lee Jeong-min Computer Animation
B.A., Wonkwang University
M.A., Sangmyung University
Visiting Professor, Carnegie Mellon University,
Entertainment Technology Center, USA
Festival Director of Puchon International Student
Animation Festival
Director; <Maru’s Library>
Execute Director; TV program <Utility Fighter>, etc.
Park Jae-dong Cartoon
B.A., Painting, Seoul National University
M.A., Art Education, Seoul National University
Published; <a Fantastic Duo>, <Je t’aime, manhwa;
korean comics>, <the Korean Pioneers In Korean
Comics>, <Park Jae Dong’s the Silk Road Travel
Sketch>, etc.
Producer; MBC Newsdesk <Park Jaedong’s TV
Cartoon>, <In The Morning>, <Jagalchi> <Be a human
Being>, etc.
Park Se-hyung Illustration/Digital Animation
B.A., Hongik University
Work; TV Animation <Utility fighter> 25 min x 3 Beta
(SBS), Display Animation <Iron Cosmos> 5min. DVD,
(Hanover World Expo. Germany)
<The face of peace> (2005, Aichi Expo Japan)
Cinema
Studies
The Department of Cinema Studies aims to
nurture experts who study various phenomena of
media culture focusing on films, and who design
new cultural products by analyzing the current
cultural topography. With the goal of “theoretical
practice and practical theory”, the Department
offers interdisciplinary research and education
focusing on visual culture such as film studies,
screen culture and media culture of East Asia.
Practical education by applying theoretical
studies to the field — The curriculum is based
on theoretical courses on film history, theory,
criticism, cultural study, and aesthetics. It also
offers practical courses for film criticism and
video planning, along with internship courses
on media culture and industrial field to provide
practical education that focuses on the application
of theoretical studies to the media industry.
The Department offers programs on film and
cultural theories of the world and by region.
The curriculum also offers in-depth seminars
on controversies over theories such as issues in
contemporary film and screen culture, courses on
theory and criticism to understand the process
of production, and workshops on criticism,
planning, and production to creatively play the
role of planners. Customized and project-type
courses are provided for students to generally
experience the industrial and public aspects of
the media industry and culture according to their
individual interests and competences.
Specialized curriculum by major — For
the undergraduate program, freshmen and
sophomores take courses focused on theoretical
foundation regardless of their major. In the
junior and senior years, courses are subdivided
into theory courses and visual planning courses
according to the ‘Film Theory’ major and
‘Visual Planning’ major, offering a curriculum
adaptable to the field by focusing on seminars
and workshops.
The graduate program aims to foster researchers
and critics through intensive education on
professional visual theories, and to develop
K-Arts into an alternative research center for
exchange of visual theories and media culture
in East Asia. To this end, there are multiple
activities underway including establishing
research institutes, holding international
symposiums, running a webzine, and publishing
an academic journal.
facult y
Kim So-young Cinema Studies
B.A., Soegang University
M.A., New York State University, USA
Completion of Ph.D course, New York University, USA
Visiting Professorship: UC Irvine Film Department and
East Asian Language and Literature, Duke University, etc.
Editing Advisor of Iconics Japan, Asian Film Database
USC, USA, etc.
Nam Soo-young Cinema Studies/Cultural
Studies
Ph.D. 2006 in Comparative Literature at New York University
M.A. 1997 in the M.A. Program in Humanities at The
University of Chicago
B.A. 1995 in Comparative Literature at the University
of Washington(Seattle, WA)
Published; <Historical Memory in the Age of ImageProcessing: Documentary, Repetition for Subversion>,
<Spectacle and Gravitational Stage: Ranciere and
Cinematic Spectatorship>
Shim Kwang-hyun Aesthetics/Cultural Studies
B.A., German Language Education, Seoul National
University
M.A., Diploma of Doctorial Course, Aesthetics, Seoul
National University
Published; <Korean History of Culture Through a New
Perspective of Fractal Aesthetics>, <Kulturgesellschaft
and Cultural Politics>, <Toward a Synthetic Theory of
Social, Ecological, and Subjective Formation>, etc.
The Film Theory major offers seminars and
workshops led by lecturers engaged in the field
of film criticism, where students learn how to
specifically analyze and evaluate film texts in the
theoretical courses and apply them to the field
of journal criticism. The Visual Planning major
aims to foster experts adaptable to the field (film
festival curating, film planning and development,
visual media education, film policy studies, etc.)
by connecting the media culture and industry to
media policies.
Animation <Cats in the pool>, Kim Bo-Kyoung, 2014
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73
Admissions
Guide
Since its foundation, the School of Film, TV &
Multimedia has been selecting students based on
academic reports, English and language aptitude
test, writing test, practical test and interview
without reflecting the College Scholastic Ability
Test (CSAT) scores. For the interview, students are
to submit a cover letter introducing themselves or
their portfolios, which are used as references during
the interview. Academic reports are reflected on
the first examination by approximately 10 to 30%,
and all Departments require students to take at
least one practical test and interview. In addition,
the first examination includes an English test,
because many textbooks about the theories and
production process in the field of film and media do
not have the Korean-translated versions. Also, for
intensified practice, students must be able to read
and understand original books in English in order to
readily deal with complicated materials and state-ofthe-art equipment.
Filmmaking
The Department of Filmmaking assesses students
on whether they have the learning ability as
potential film students, focusing on their intellectual
capacity and creativity. To assess intellectual
capacity, the main focus is on determining whether
the students have adequate humanistic knowledge
as well as problem solving skills to complete the
curriculum of the School. Students are evaluated on
their humanistic knowledge such as analytic skills,
understanding (precise understanding of the given
text) and reading skills; and on problem solving skills
such as critical thinking skills, analytic skills and
synthetic judgment skills (analogy and inference).
To assess creativity, the main focus is on evaluating
the students’ writing skills, the ability to organize
paragraphs and texts, and the ability to logically
organize and express their arguments. To avoid
memorized and trained writing, the School always
provides a new form of questions and evaluates the
students on their creative imagination.
Broadcasting
The Department of Broadcasting focuses on the
students’ humanistic knowledge, writing skills
and text organization skills. To test humanistic
knowledge, students are evaluated on their ability
to interpret the meaning of the given text, critical
thinking skills and subjective judgment, and logical
organization of their own arguments. For writing
skills, students are evaluated on their literary
sensitivity, ability to express their intentions and
feelings in unique styles, and writing skills. For text
organization skills, students are evaluated on their
analytic skills and creative imagination.
74
Multimedia
In the first practical test, students analyze the given
materials such as images, texts and sounds, and
express their own original formative world. After
they establish a theme by objectively interpreting
the contents and hidden meaning of each material,
students must be able to organize the image
narrative in their own point of view and display a
creative formative world. In the second practical
test, students must precisely interpret the given
text, analyze the given materials as they did in
the first test, and express their own emotions in
sensible formative language once the directivity
is determined. As for the portfolio, it is a way to
examine the applicants’ developmental phases
and consistency in formative skills through the
submitted works; thus, students must include only
the excellent works that show their step-by-step
characteristics they have created in the last 5 years.
Animation
The first practical test comprehensively evaluates
the applicants mostly on their storytelling skills,
along with drawing and directing skills. Students
must be well aware of the importance of directing,
and their stories must be well structured with
outstanding formative completeness and
uniqueness. The second practical test assesses the
directing and formative skills. The oral test evaluates
the students on how clearly and confidently
they express themselves. Portfolios are used to
evaluate the training process of their skills, and
students must produce the contents according to
the required quantity. Students must submit their
own drawing inserted on one page of the portfolio,
without submitting an additional brochure or other
abundant works they have done.
Cinema Studies
The Department of Cinema Studies focuses on the
ability to analyze and interpret films, understand
the social context, accurately and logically express
their opinions. Students are also tested on their
basic English skills. They must have the ability to
approach films with an objective attitude, interpret
the symbolism revealed in films, support their
arguments with valid reasons by judging the films
with a subjective attitude, understand the basic film
history, interpret works in historical background,
determine films objectively within the society to
which they belong, and make value judgments in
their own point of view with reasonable grounds.
75
Major
Facilities
Film Studio
TR Room
The big (125 pyeong) and small (60 pyeong)
studio are for classes and workshops related to
cinematography and filming. It is equipped with
various lighting devices, filming equipment and film
sets so that students can make films year-round.
Equipped with various decks and patches, this room
allows students to convert, manage, edit and master
visual materials to almost all the formats applied for
short-film production and screening (DV, DV-Cam,
Beta, Digi-Beta, HD-Cam, and DAT).
TV Studio and Studio Control Room
Sound Editing Suite (Foley Studio)
This place is designed for cinematography using
multiple cameras at the studio in connection with
the control room, equipped with total 6 types and
150 units of set and light battens.
The room enables students to work on basic sounds
or produce and edit professional sounds. It is
equipped with the facilities to do ADR and FOLEY
recording while watching the filmed image on
screen.
Equipment Rooms
The rooms are equipped with diverse state-ofthe-art facilities suitable for the practical courses
offered by the School, improving the internal
stability of education and supporting equipment
and technology for various workshops, graduation
projects and industry-academy projects. The
four Departments (Filmmaking, Broadcasting,
Multimedia, and Animation) have their own
equipment rooms.
Editing Lecture Room
The rooms are for courses on film editing, color
calibration, and other post-production processes.
Post- production tools such as Final Cut Studio,
Soundtrack Pro, Color, and Avid are used during
classes.
Animation Workstation Room
The workstation provides optimal software solutions
for 2D and 3D animation based on Mac OS and
Microsoft Windows. It also offers the latest version
of TV Paint Pro for 2D bitmap, Harmony and Flash for
2D vector, and XSI and 3D Max for new media-game
output for 3D.
Main Presentation Room
The room is for regular exhibitions, a main part of
the curriculum of the Department of Animation. It
is also used for various school events, serving as a
media network for the whole digital process. With
KOREN installed, the room also acts as the optimum
network space as well as a venue for both online
and offline lectures.
AVID Editing Rooms
These rooms are designed to edit all kinds of image
productions that can be used for broadcast. There
are total of 15 rooms consisting of Avid symphony,
Avid ADRENALINE HD SYSTEM, and Avid NITRIS
SYSTEM.
Presentation Room of Department of Animation
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TV Studio
Affiliated
Institutions
Technical Management Center
The Technical Management Center was established
to improve the students’ ability to produce visual
works by providing adequate support for various
workshops and productions in the curriculum, based
on efficient and systematic supply, management
and maintenance of equipment used in the School
of Film, TV & Multimedia. It efficiently operates and
manages facilities and tools of the School, being
in charge of technical support for various courses
and workshops offered by the School. The Center
manages 5 studios, over 90 practice rooms, 12
projection rooms, a darkroom and other lecture
halls, and it supplies, manages and repairs more
than 1,000 types of educational tools and materials.
Trans-Asia Screen Culture Institute
The Trans-Asia Screen Culture Institute aims to
conduct interdisciplinary studies of visual culture,
regional studies and visual production of Asia in
order to produce a discourse balanced with practice
and theory and breathe fresh energy into Asian
cultural studies.
The Institute takes the initiative in leading new
trends of cultural studies across Asia, sharing
research findings and project accomplishments
with various interested researchers and
organizations through lectures or publications.
Since 2001, it has annually hosted the Trans-Asia
International Symposium inviting researchers and
producers of visual culture from Asia and other
countries of the world. Moreover, the Institute
hosts monthly forums that invite and introduce
researchers in visual culture and media studies in
Korea and abroad. It also shares research findings
and promote interaction by annually hosting the
“Trans Academy”, which is a public lecture for K-Arts
students and the general public.
Based on research and education projects, the
Institute published books such as <Trans: Asia
Screen Culture> and <Modernity and Geopolitical
Aesthetics of Asian Films>, as well as the journal
<The Journal of Trans Asia Screen Culture> and
online journal <Trans Review>. Since 2012, the
Institute has been participating in the <Compendium
of Korean Film History> project with the support of
the National Research Foundation of Korea.
Film & Multimedia Archives
The Film & Multimedia Archives are established
to collect and preserve visual materials and build
and utilize database. Its main role is to store data
and manage screening copies of works by the
students of the School of Film, TV & Multimedia as
well as rare materials. The collected materials are
systematically managed on computer, arranged
by bar codes according to various classification
schemes. Moreover, there is a small projection
room that offers screenings of students’ works and
rare materials.
There are over 2,500 Korean and global visual
materials (VHS and DVD) and 1,000 works
from workshops and graduation projects of
the four Departments (Filmmaking, Animation,
Broadcasting, Multimedia) of the School of Film,
TV & Multimedia. These materials are used for
classes and researches by the students and faculty
members of the School only. All works by students
have been systematically managed on computer
since 2008 as part of the unification of student
work distribution. Since 2012, the distribution and
use of students’ works are delegated to the Media
Contents Center.
Film & Multimedia Archives
77
무용원
School of Dance
Dept. of Dance Per formance
Dept. of Choreography
Dept. of Dance Theor y
The School of Dance was established as a high-level institute of artistic dance education to foster talented individuals with the necessary expertise to excel as dance practitioners. The School fosters an intellectual and creative foundation for dance education through providing opportunities for intensive practice, creative education focused on
creativity, and theoretical education focused on developing thinking skills and knowledge rooted in the humanities
and social sciences. It is the first school in Korea to adopt a matrix system whereby the fields of theory, choreography and performance of dance education are classified into different majors. This system is the foundation for the
School’s development as the premier high-level dance education institute in Korea, with a sterling academic reputation globally. Through education that encompasses the Korean traditional dance heritage, as well as ballet and contemporary dance, the School of Dance trains professional dance artists, theorists and planners with the skills and
viewpoints required to lead the rapidly changing contemporary dance scene. To further nurture professional dancers, the School also operates its own dance company (KNUA Dance Company) led by the faculty and students.
78
School of Dance
79
C urriculum
Dean’s Message
Unlike other national universities in Korea specializing in dance education that
divide majors into Korean dance, contemporary dance and ballet within a single
department, the School of Dance in K-Arts divides majors between the departments
of dance performance, choreography and theory. This approach provides students
with an intensive specialized education to match their aptitude. The university invites
professors at the forefront of the discipline, and offers intensive and substantial
education by running an innovative system that focuses more on ability than age
when selecting students.
The School focuses on practice-based education, such as performance, programs for
the gifted and internships for students to learn about various dance techniques, as
well as theoretical education accompanied by critical thinking and foreign language
skills. The school has made the shift to digital to offer education in line with the new
dance patterns, creation and research methods.
The School provides consistent and systematic education based around interaction
with a global graduate cohort and prestigious dance education institutes overseas. It
offers year-round programs such as summer and winter courses and ongoing ad-hoc
special lectures, even during vacation time.
H istor y
M a r . 1 9 9 6 Opening of the School of Dance (Professor Kim Hye-sik
as the 1st Dean of the School of Dance)
S e p . 1 9 9 6 Opening of the Training Program for Practice of Art (Preparatory School)
of the School of Dance
O c t . 1 9 9 7 Regular performance in celebration of the foundation
of the KNUA Dance Company
S e p . 1 9 9 9 Completion of Seocho-dong Campus (including School of Dance)
M a r . 2 0 0 0 Opening of the 2-year graduate program of the School of Dance
M a r . 2 0 0 4 Inauguration of the 2nd Dean (Professor Hur Young-il)
M a r . 2 0 0 5 Inauguration of the 3rd Dean (Professor Chun Mi-suk)
M a r . 2 0 0 6 Inauguration of the 4th Dean (Professor Jung Seong-hee)
M a r . 2 0 0 8 Art Management Major is changed to Cooperative Program
The culture and arts industry plays a critical role in enhancing
national competitiveness which provides an enriched life fit for the
21st Century landscape. There is a need for talented dancers equipped
with the skills and experiences necessary to become the leaders of
this changing era. The School of Dance was established specifically to
provide such education.
Since its foundation in 1996, the School has provided systematic core
dance courses from both a theoretical and practice-based standpoint.
The School continues to host specialized lectures by prominent
international professors, along with a diverse performance class
and master class schedule, year-round presentations of creations by
students and professors, as well as close interaction and a cooperation
system with prestigious art colleges around the world. This
systematically and thoroughly managed academic calendar is thanks
to government support.
As a result, the School has produced countless winners of famous
international dance competitions, leaders of world-renowned
professional dance companies, and numerous dancers. Many
graduates now lecture at leading art middle/high schools in Korea.
Having undergone successive periods of unprecedented rapid
growth within a short period of time, the School of Dance has risen
to global prominence as a school famous for skilled students in the
dancing world.
M a r . 2 0 0 9 Inauguration of the 5th Dean (Professor Kim Hyun-ja)
M a r . 2 0 1 2 Inauguration of the 6th Dean (Professor Hur Young-il)
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Dean of the School of Dance
Hur Young-il
School of Dance
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School of Dance
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School of Dance
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School of Dance
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Dance
Performance
The Department of Dance Performance produces
creative dancers based on its motto of learning
and experimenting with various movements, and
provides the specialist knowledge and curriculum
required by practitioners in artistic fields. The
Department offers courses in art history as well
as aesthetics, and takes a humanistic approach
through which students can explore their
imagination, along with performance programs
customized for individual competencies such as
music, stage, administration and direction. The
Department remains faithful to the core principles
of performance education, while also establishing
a base for interaction with artists working on the
front lines of contemporary art, providing diverse
training programs in which art meets education.
The differentiated and unique experiences of the
Department of Dance Performance through the
Performance Workshop are helping to build a
solid foundation for students to become dancers
and leaders of the art world.
Courses by Majors — To improve dance
techniques, the Department of Dance
Performance classifies the major courses into
Korean dance, ballet, contemporary dance
and dance music, which are then divided into
Intermediate and Advanced Technique courses
to increase the level of intensity. Various artists
engaged in the world of dance in Korea and
overseas teach the courses through broad, vivid
and engaging methods. Aside from the intensive
practical courses, the Department offers courses
such as dance choreography or repertoire training
to enhance artistic creativity and imagination, as
well as dance science courses on anatomy, therapy
and injury prevention. Through the curriculum
offered by the Department, students learn about
various movements and experience on-site
abilities, as potential artists with creative thinking
skills and ideas.
Creative Courses — Dance improvisation courses
and creative activities help students learn about
the principles of time, space, weight, flow, and
energy. Students are able to enhance their ability
to move and express themselves dynamically
using their bodies. Movements useful for dance –
and the elements to acquire them – are explored
for a more efficient approach to creating motion.
This produces and circulates a choreographic
system encompassing development, composition,
creation and dance studies, allowing students
to take an in-depth approach to the principle of
creation. Moreover, it enables students to promote
creativity by combining the norms and concepts
of dance, experimenting on movements that will
act as a medium for cooperation by expanding
aesthetic functions such as multilayered
intelligence and intellectual convergence, thereby
providing the structural support required for
other genres of art to blossom.
Performance Workshop — Designed to develop
the individuality of each student, this is a
performance-based education program that
enhances imagination and creativity. It embraces
the actual process of performance necessary to
increase a dancer’s fluency, frequency, originality
and imagination. Students conduct constant
experiments to reach individual maturity
and meet their artistic needs, enhancing the
sense of achievement by embodying technique
and expression. The performance workshops
produces synergy while also embracing
dance with a macroscopic view, providing an
opportunity to take one step further toward
professionalism and enabling students to
experience dance and its significance in artistic,
aesthetic and cultural aspects.
Dance Music (Graduate Program in Dance
Performance) — This program covers all parts
of music related to dance. It includes improvised
piano performances in dance classes, the
production of music for performance, the
design of music in various forms, and music
play. The courses include introductory music
programs, research and development into
interdisciplinary areas across dance and music,
and an accessible instrumental performance. The
detailed curriculum consists of improvised piano
performances, seminars on teaching methods,
writing, percussion playing, and dance practice
for accompanists.
Dance Performance Education (Graduate
Program) — In the Graduate Program, students
receive intensive and in-depth education and
training through a proven teaching method (8year curriculum of Vaganova method) designed
to train specialized dancers.
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facult y
Chun Mi-suk Modern Dance
B.A., M.A., Ewha Womans University
Certificate for Contemporary Dance and Choreography,
London Contemporary Dance School, U.K.
Board member of Dance Association of Korea
Participated in Festival International Cervantino
(Mexico), Asia Contemporary Dance Festival (Japan)
Best Choreography Award (2004, 2007)
Jo Joo-hyun Ballet
B.A., Korea National University of Arts
Principal of Washington Ballet Company
Awarded Gold prize at Dong-A Dance Competition,
Choreography prize at Ballet Expo Seoul 2008, Seoul
Dance Festa, Best Choreography at Chritics Choice 2010
Kim Sun-hee Ballet
B.A., Ewha Womans University, Korea
M.F.A., Tisch School of the Arts, New York University, U.S.
Teaching Certification (Ballet Method) Vaganova Ballet
Academy, Russia
2007 Arts Award of the year Arts Council Korea
‘Blazing heart’
Jury of International Ballet Competition-Varna(2004),
Lausanne International Ballet Competition (Prix de
Lausanne, 2001)
Kim Yong-geol Ballet
B.A., Sungkyunkwan University
Member of Korean National Ballet, Paris Opera Ballet
Artistic Director of Gala des Étoiles
Consultant of Seoul Arts Center
Shin Chang-ho Modern Dance
B.A., M.A., Korea National University of Arts,
School of Dance
Ph.D., Sungkyunkwan University
Trinity Laban Conservatoire of Music & Dance (Diplom)
President of Laboratory Dance Project
Guest choreographer at Theater Verband Tirol in
Innsbruck, Austria (2012~2014)
Dancer at Theater St. Gallen in Switzerland (2005~2006)
Woo Kwang-hyuk Dance Music
B.M., Seoul National University, Korea
D.E.A., Université Paris IV – Sorbonne, France
D.F.A.P., Université Paris IV – Sorbonne, France
Director of The Society of Music Educational Technology’
Music Design for Performance; ‘The view point’,
‘The flairs’, etc.
School of Dance
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Choreography
Dance
Theory
The goal of the Department of Choreography
is to encourage students to develop their own
imagination and individuality to develop as unique
choreographers with a distinct individual identity.
Throughout the curriculum, students undergo a
process of progressively discovering their own body
language, expanding and developing their ideas
further to encourage other dancers, and conducting
experiments to further strengthen academic
knowledge. While the curriculum for the first and
second years is focused on providing opportunities
for students to practice dancing and encounter other
artistic genres, the curriculum for the third and
fourth years entails a larger variety of specialized
courses required for choreographing and creating
individual works themselves. Each semester,
choreographers from all over the world join the
program as invited professors, while a master class is
offered during vacation time to provide an education
program fits for choreographers with global sense
and thinking. Students must earn the required
credits for graduation. In addition, to graduate,
students must present their choreographed work
at least once in the Experimental Dance Festival,
which is a dance performance program run by the
Department biannually.
facult y
The Department of Dance Theory provides
education and practice in dance-related
humanities and social sciences subjects, as well
as the arts, cultural studies, natural sciences and
business administration. The learning on offer
is designed to systematically foster prospective
theorists and practitioners with the knowledge
and refinement required for a fulfilling career at
the forefront of contemporary dance aesthetics,
ethnic dance, dance science, dance history, dance
criticism, and art management. Macroscopic and
objective insights about dance, balanced theories,
and visions about different areas within dance are
provided so that students can foster the ability to
study and develop academic and practical dance
applications. The Department provides education
on general areas related to dance science,
including theories related to specific fields, as
well as cultural field trips. Students have the
opportunity to take courses in other Departments
in the School of Dance in order to wider their
knowledge and keep pace with changing trends as
specialists in the field.
Vice chief director of The Music Association of Korea , Vice
President of Korean Association of Arts Management,
Committee member of Korea National Ballet, Consultant
of The National Dance Company of Korea
facult y
Hong Seung-chan Dance Theory
B.A., M.A., Ph.D., Seoul National University
Artistic director of Performing arts at Seoul Arts Center
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Ahn Sung-su Modern Dance/Choreography
B.F.A., The Juilliard School
Artistic director of Sungsoo Ahn Pick-up
Group (1991~96)
Choreographer; Juilliard Dance Ensemble, Ballet Randolph,
Mary Street Dance Theater, Mary Luft & Dancers
Guest choreographer for the National Dance Ensemble
The Grand Prix Art Festival of the year ‘My funeral’, The
Martha Hill’s Award(USA)
Kim Sam-jin Korean Dance/Choreography
B.A., M.A., Ph.D., Hanyang University
International Choreographers Commissioning Project:
Guest choregrapher & faculty
’Vacant house’ invitation performance (LA Central Library)
2008, KBS tour performance USA (Lincoln Centre alice
Tully Hall) USA
Fulbright Mid - Career Lecturing Award : California State
University. Long Beach
Nam Jeong-ho Modern Dance/Choreography
B.A., M.A., Ewha Womans University
D.E.A, Universitaire de Rennes, France
Member of Jean-Gaudin Dance Company in France
Dance Hakushu Japan, Full moon dance festival Finland
Special award Saitama Int’l Choreography Competition
Japan, The best artist of the year Korean Art Critic
Association
Hur Young-il Ethnic Dance
B.A., M.A., Dance, Ewha Womans University
Post-baccalaureate unclassified graduate student,
University of Hawaii, U.S.A
Research student of pre-doctoral program,
Ochanomizu university, Japan
Former advisor of the National Center of Korean
Performing Arts 2002~06
Visiting professor of Waseda University, fund-raised by
The Japan Foundation 2001
Jeon Su-hwan Knowledge / Art Management
B.A., Yonsei University
M.A., Ph.D., Korea Advanced Institute of Science and Technology
Board member of ArtSpace Korea
Researcher of KAIST KMRC(Knowledge Management
Research Center)
Kim Jong-won Dance Aesthetics Criticism
B.A., Philosophy, Seoul National University
M.A., Aesthetics, Seoul National University
Prior President of Korean Society of Dance Critics
Published; ‘Rethinking Dance’, 2008
Chosen as one of the 500 founders of the 21st century, IBC, UK
Na Kyung-ah Dance Psychology
B.A., M.A., Ph.D., Ewha Womans University
M.A., Hongik University
Director of Korean society of Dance science
Director of Korean society for Dance studies
Published; ‘The principles of Dance’, ‘Understanding
dance movement’
School of Dance
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Admissions
Guide
Dance Performance
Choreography
In their first practical examination for regular
admission, students are evaluated on their ability
to learn the movements and their mastery of
basic dance techniques. In the second practical
examination, students are required to choose a
minor and be assessed in terms of their practical
skills related to an area other than their major;
students are also assessed on their self-expressive
ability through an oral test. Gifted students are given
the qualifications to apply for the special admission
through a practical examination for high-potential
students. High-school seniors from among the
winners of the K-Arts Dance Competition hosted by
K-Arts are also given the required qualifications to
apply for special admissions.
The admission system for the Department of
Choreography focuses on evaluating the creativity
required by choreographers today, including
students’ intellectual ability and understanding
of movement. To evaluate creativity, students
are tested on their ability to creatively deal with
the given tasks and the time given. Moreover,
intellectual ability is evaluated through objective
task-based transcription. To examine understanding
of dance performance, students are to prove their
training skill, musicality and concentration of dance
techniques through open classes of ballet, Korean
dance and contemporary dance.
Regular Admission — In their first practical
examination, students are to be dressed as
designated by K-Arts. They are required to learn
the demonstration movements of their major
presented on the day of the examination by K-Arts,
on which they are assessed. In the second practical
examination and oral test, students are to learn the
demonstration movements of their major presented
on the day of the examination, with assessment
conducted for skill and completeness. For the minor,
students select one area from among Korean dance,
contemporary dance and ballet (in addition to their
major), and learn the demonstration movements,
with assessment made of their basic skills. They
are to be dressed the same as in the practical
examination of each major.
Special Admission — High-school seniors who won
the K-Arts Dance Competition are assessed for their
proficiency in the practice of their major. Scores
are awarded based on the rating system of learning
the demonstration movements provided on the day
of the examination by K-Arts (80%) and oral test
(20%). Moreover, students selected as gifted high
potentials in the field of dance by K-Arts can apply
for special admission through a 100% oral test.
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Dance Theory
In the first examination, students are tested on their
English skills, as required for them to interpret the
foreign language sources required in the study of
dance. They are to also prove their understanding of
dance by taking a practical examination related to
the understanding of movement, given that dance
is an expressive art. In the second examination,
students are to express in writing their thoughts
on the topics of the given English texts. They are
evaluated on their ability to interpret English, along
with basic knowledge of dance and the logical
structure of their writing. Their self-expressive
ability is also evaluated through an oral test. For
admission to the Graduate Program, a special
admission system is open to specialists engaged
in the field of dance who seek to enrich and polish
their theoretical knowledge.
School of Dance
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Major
Facilities
Dance Studios
The School has 5 dance studios that are each the
size of 30 pyeong, 1 medium-sized dance studio
measuring 60 pyeong, and 3 large dance studios
measuring 90 pyeong for students to participate in
intensive practical training. The high ceilings and
special floors of each space can absorb vibration,
and the mirrors set up on three walls further
facilitate practical learning.
Dance Studio No. 105
To provide greater on-stage experience for enrolled
students, the Dance Studio No. 105 is equipped
with all the facilities necessary for performances,
with various performances staged here. There is
a control room on the second floor and lighting
fixtures on the ceiling. There are 150 drawer-type
folded chairs on the north wall, as well as a black
backdrop on the backside of the south that serves
as a stage. All these facilities make the studio all the
more favorable for giving performances.
Computer Lab
The Computer Lab for music production, dance
music and media practice is equipped with 15
computers including 2 Apple computers, along
with computer music equipment that provides
the opportunity for students to learn about dance
and dance music. Music editing and production
software is installed on each computer, which
enables students to access leading-edge industry
technology.
Many-sided Video Monitoring System
The School of Dance is equipped with a system for
students to see and check the way they dance on
the floor from three sides. This system is installed
in the Dance Studio No. 105, and a high-definition
camera records the dancers from three sides (front,
side and back) on a real-time basis. Students can
monitor their position, direction and motion lines on
the screen immediately after their movements. The
recorded videos are edited digitally in the Computer
Lab to be used for various purposes, including
submission to auditions.
Dance Science Lab
The Dance Science Lab is the only specialist dance
lab in Korea. By adopting a scientific management
system for a scientific dance education, the Lab
aims to help students improve their health and
dance skills through physical fitness management,
diagnosis of dance kinesiology, prevention
of dance injuries, analysis of movement, and
rehabilitation. The Lab provides systematic tests
and measurements by adopting the following three
types of scientific management system to develop
specialists through practice-based education.
•
•
•
Performance improvement : Physical fitness
diagnosis, improvement of flexibility, analysis
of movement patterns, self-diagnosis feedback
through psychological disposition analysis
Health care : Body composition analysis for
effective physical management and injury
prevention/rehabilitation programs
Career : Training program to enter specialized
fields, such as physiology, dynamics, body
conditioning and rehabilitation
Affiliated
Institutions
The World Ethnic Dance Institute
The School of Dance founded the World Ethnic
Dance Institute to establish the identity of traditional
Korean dance and promote world ethnic dance
through acting as a bridge to ethnic dance studies
and exchange worldwide. The Institute continues to
take the intangible cultural assets of East Asia and
the world onto the Korean stage, while publicizing
the outstanding traditional arts of Korea to the
world. It also continues to strengthen the academic
foundation for comparative studies on the ethnic
dances of the world.
•
Dance Therapy Lab
Dancing is based on physical activities using
our bodies. The Dance Therapy Lab operates an
injury management system for students through
close cooperation with the Dance Science Lab
to support the diagnosis of physical condition,
analysis of dance movement, injury prevention and
rehabilitation. Moreover, the Lab runs programs to
prescribe exercises for efficient dance activities and
improve students’ learning capabilities. This is what
differentiates it from other education institutes as
a specialized dance education institute. Dancers
here constantly strive for perfection rather than
the status quo. As a result, they frequently suffer
from fatigue, injuries or chronic pain from straining
themselves in movement. Such physical imbalance
adds pressure to certain parts of the body, which
can lead to problems in certain joints, ligaments and
muscles. While it is important to receive appropriate
therapy for each injury, it must be preceded by
preventive measures. In particular, it is necessary to
provide an accurate assessment of each individual’s
physical condition.
•
Invitation Series of World Intangible Cultural
Assets : The School of Dance has invited
intangible cultural assets from other countries,
including Japan, India, Philippines, China,
Bangladesh, Cambodia and Mongolia, for 16 times
from 1999 to 2013, through which it provides
an understanding of the cultural emotions of
each country, while also acting as the hub of
international exchange.
Historical Research and Restoration of Dance and
Performances Worldwide : We let the world know
of Korea’s cultural status by staging performances
of traditional dances that have been restored and
passed down, through which we find new forms
of dance performance. This process of locating
new dance practice enables the strengths and
•
•
•
features of Korean dance and culture to be seen
in performances overseas, thereby laying the
groundwork for Korean cultural competitiveness.
Restoring Sunjo Muja Year Yeongyeongdang
Jinjakrye Ceremony
Exchange of Traditional Culture between Korea
and Japan : Korea and Japan exchange traditional
culture through a cross-cultural study with
workshops and performances.
Hosting the International Ethnic Dance
Symposiums and Publishing an Academic
Journal : Since 2002, the School has published
17 volumes of the academic journal <Ethnic
Dance>. Selected as a beneficiary for support of
core research in the field of humanities and social
sciences by the National Research Foundation
of Korea in 2009, the School currently conducts
research on collecting and building a database
of original East Asian materials to explore the
foundations of traditional Korean dance.
Functions of Dance Therapy Lab
•
•
•
Diagnosis : Injury prevention by diagnosing
and assessing physiology, psychology and
exercise capacity based on medical evaluation
method(Tests in connection to the Dance
Science Lab)
Treatment : Continuous health counseling and
injury treatment process
Rehabilitation process : Prescription of treatment
and rehabilitation program suitable for individual
diagnosis results(Continuous assessment and
management with the medical records of each
individual student)
Ethnic dace practice presenation
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School of Dance
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미술 원
Dept. of Fine Ar ts
Dept. of Design
Dept. of Architec ture
Dept. of Ar t Theor y
The School of Visual Arts is a national institute for art education established to foster professional artists capable of
meeting the needs of the rapidly changing social, political and cultural environment of the 21st Century. For this, the
School works to implement advanced and futuristic pathways in art education. As Korea’s only college of fine arts to
embrace all the fields of visual arts, including plastic arts, design, architecture and artistic theory, the School of Visual Arts breaks with tradition to set a new model for art education grounded in creative, enterprising and integrated
thinking, rather than individual genres or media. This innovative approach underpins all aspects of academic life at
the School of Visual Arts, including improvements in the admission system, the constantly developing curriculum,
the world-class education facilities and faculty, the close interaction and outreach to schools and departments, and
practical education using internal and external exhibition facilities. In the twenty years since it was founded, it has
succeeded in distinguishing itself amid the academic landscape for its innovation, breadth of approach and commitment to contemporary artistic practice, as evidenced by the impressive careers of its countless graduates.
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C urriculum
Dean’s Message
All new students in the School of Visual Arts must take the Foundation courses, which are
common courses required regardless of major. Students in all the departments, including Fine
Arts and Design in which they produce actual works as well as Architecture and Art Theory in
which they learn the studies of art, are paving the way for their studies in art by taking the four
Foundation courses, such as Drawing, Observation & Two Dimensional Space, Object & Space,
and Four Dimensional Space.
Foundation Courses : Foundation courses are those that are equivalent to the foundation
curriculum of an art college. Focused on conceptual, novel and creative learning paths in
the arts, these courses are designed to be the doorway to further reflection on aspects of art
education. In seeking to understand the value of the arts and create ideal forms of education,
the Foundation courses focus on maintaining a well-balanced harmony of theory and practice.
Expansion of Visual Language Vocabulary and Experience of Visual Expression : The four
Foundation courses – Drawing, Observation & Two Dimensional Space, Object & Space, and
Four Dimensional Space – in the first semester literally provide the ‘foundation’ for students
to go on to build their career as artists in the future. Since most courses other than Drawing 1,
which is focused on drawing models, are dedicated to presentations, discussions and critical
perspectives, students are required to produce their own artworks after class. This approach
enables the students to develop their ability to perceive their works while also building time
management skills, a requisite for a successful artistic career.
Expansion of Thinking : Drawing, Creative Process, and Three & Four Dimensional Concepts
are three courses provided for the second semester that help students expand their thinking.
Students learn how to question established complexities and, ultimately, how to seek solutions
for themselves. The evaluation criteria focus primarily on the extent of the experience they
have gained, rather than on visual outcomes like techniques, compositions or finishing
touches. For this reason, students are able to play with what’s possible and explore the limits of
artistic representation to build up a foundation for long-lasting originality.
H istor y
The 21st Century is seeing an ongoing paradigm shift in contemporary
academic discourse that is uprooting traditional models of education,
with fundamental changes consequently sweeping across the field of
art education. Creative thinking skills, comprehensive perception of
the period, and communication skills are some of the important skills
demanded of artists in these times of change. To this end, the School
of Visual Arts has fundamentally reorganized and restructured the
framework of art education by focusing on critical thinking, problem
solving skills, discussion and communication skills and breaking
away from the previous customs of education focused solely on
handicraft techniques and formative senses. Furthermore, the School
of Visual Arts actively collaborates with other schools to keep pace
with the current times that demand technical convergence in addition
to humanistic knowledge based on art, as it has become difficult to
connect with a contemporary audience with nothing but an artistic
way of thinking. The outcomes of this new educational approach are
already apparent thanks to the success of the graduates of K-Arts who
are distinguishing themselves across the arts. The School of Visual
Arts will lead the development of 21st Century Korean art education
by sustaining the efforts that have been made for the past 18 years of
our School’s history.
M a r . 1 9 9 7 Opening of the School of Visual Arts, consisting of the Department of Fine Arts,
Department of Architecture, Department of Design, and Department of Art Theory
J u n . 1 9 9 8 Opening of Songchu Ceramics & Glass Experience Center
Dean of the School of Visual Arts
Park Sun-woo
M a r . 2 0 0 0 Establishment of the graduate program
O c t . 2 0 0 0 Opening of the KNUA Gallery and Gallery 126
M a r . 2 0 0 2 Implementation of the 5-year curriculum in the Department of Architecture
A u g . 2 0 0 3 Opening of Gallery 175 (Anguk-dong)
N o v . 2 0 0 5 Publication of the School of Visual Arts Newsletter
O c t . 2 0 0 6 Relocation of the Ceramics & Glass Experience Center to the Seokgwan-dong Campus,
implementing an integrated experience center
J u l . 2 0 0 7 Acquisition of the Architecture RIBA accreditation (Part1, 2)
N o v . 2 0 0 7 Exhibition celebrating the 10th anniversary of the School of Visual Arts – Borderless
Prospects (gallery of the new campus)
M a r . 2 0 0 8 Relocation of the Department of Design to the main campus
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Fine Arts
The Department of Fine Arts aims to train
enterprising artists capable of leading the future
world of art by actively addressing the challenges
of contemporary visual culture with the modernday competencies demanded of artists. Students
learn the ability to manage various media and
techniques, such as painting, sculpture, new
media, ceramics and glass, beyond the boundaries
of conventional artistic genres. Moreover, students
can pursue the image of experimental and
enterprising artists who broaden the scope of new
possibilities of art based on insights and a clear
awareness of social and cultural issues and trends.
Fostering the Ability to Actively Respond to
the Contemporary Art Trend of Hybrid and
Post-Genre — Students study the materials and
techniques used in various media through a
curriculum that emphasizes open-mindedness,
experimental spirit and liberal mind. In addition
to a thorough grounding in general art education
through exploring the depth of emotions as
captured in specific media, the curriculum
uniquely focuses on effective communication
through discussions and presentations.
Avoiding Standardization by Specific Ideologies
or Trends — Students are encouraged to create
their own creative and unique worlds of art
by flexibly embracing multiple trends found
in contemporary art, as well as exploring the
motivations present in other artistic genres.
Implementing a Practical Form of Theoretical
Education — By incorporating the display of
artworks within practical education that had
previously focused solely on creation, students can
actively explore the issues of artistic acceptance
and reception, as well as the issues of exhibition
space and audience.
100
The Same Yet Different, (Mongin Art Center), etc.
Collections: Seoul Museum of Art, etc.
Jung Jung-wha Video art
Diplom, Hochschule für Bildende Kunste Hamburg, Germany
Diplôm, Ecole Supérieure des Beaux Arts de Marseille, France
Aufbaustudium, National School of Art Hamburg,
Hamburg, Germany
Solo Exhibition: “Video et Multimedia” of “Sounghi
Kim et ses Invites’, France, etc.
Group Exhibition: “Computing Music VI_TeamPlay”,
Alte Feuerwache, Cologne, etc.
Kim Ji-won Painting
Staatliche Hochschule für Bildende Künste Städelschul
Frankfurt am Main, Germany
B.F.A., Fine arts education, Inha university
Solo Exhibitions: Like the Wind (HITE Collection), Take
Off (Kumho Museum of Art), etc.
Selected Group Exhibitions: SeMA Gold 2012:Hidden
Track (Seoul Museum of Art),Good Morning, MR. Nam
June PAIK (Korean Cultural Centre, London), etc.
Kwak Nam-sin Painting/Printmaking
B.F.A, M.F.A. Painting, Hongik University
Diplôme, Printmaking, Ecole Nationale Supérieure des
Arts Décoratifs, France
Solo Exhibition; Galerie Arcade (Brussels, Belgium),
Espace Bateau-Lavior (Paris, France), etc.
Group Exhibition; “Korean Drawing Now” (Brooklyn
Museum, New York), “Special Prize” International Print
Triennial-Cracow, Poland in 2000, etc.
Lee Ju-yong Holography/Photography
B.A., Science Imaging Technology, Brooks Institute of
Photography, U.S.
M.S., Science Photography (Holography), Brooks
Institute of Photography, U.S.
Solo Exhibition: “EXIT", AD 2000 Gallery, (Japan),
“Part of Nature”, Growrich Gallery, (Seoul, Korea),
“Portfolio”, Space 311 Gallery, L.A., U.S. etc.
Group Exhibition: “Holography 2000”, Stadtmuseum
St. Poelten, (Austria), etc.
facult y
Lim Min-ouk Painting/3D
École Nationale Supérieure des Beaux-Arts de Paris,
Félicitation DNSAP
2007 Hermès Korea Missulsang, Atelier Hermès, Seoul
2008 Solo Exhibition: “Jump Cut,” Artsonje Center, Seoul
“The Artist of the Year 2012,” National Museum of
Contemporary, Korea
“FireCliff Series,” Madrid, Seoul, Minneapolis, Chicago
2013 “Minouk Lim: Longing for Slight Fever,” Art
Center Nabi, Seoul
Ahn Kyu-chul 3D/Display
B.A., Sculpture, Seoul National University
B.A., M.A,, Staatliche Akademie der Bildende Künste
Stuttgart, Germany
Solo Exhibition: Rodin Gallery (Seoul), La Casa
Encendida Gallery, (Madrid, Spain) etc.
Group Exhibition; “Crossings 2003”, Gallery of University
of Hawaii (Honolulu, U.S.), “Alchemy of Daily Life”,
National Museum of Contemporary Art (Seoul), etc.
Park Sung-won Glass art
West Surrey College of Art and Design, UK
M.F.A., Ceramic & Glass, Royal College of Art London, UK
Lecturer, Middlesex University, London, UK
Solo Exhibition; “Vein of Life-Contemporary Glass
Sculpture”, Plateaux Gallery, (London, UK), “Through
the Life”, Sklo Gallery, etc.
Group Exhibition; “The 31st Annual Glass Art Society
International Exhibition”, U.S., etc.
Bae Jin-hwan Ceramics
B.A., Bennington College, U.S.
M.F.A., Cranbrook Academy of Art, U.S.
Solo Exhibition; Sa-gan Gallery (Seoul), HavillandStrickland Gallery (Philadelphia, U.S.), etc.
Collections; The Victoria & Albert Museum, London,
United Kingdom, etc.
Sul Won-gi Painting
B.A., Beloit College, U.S.
M.F.A., Painting, Pratt Institute, U.S.
Solo Exhibition: Lee Hwaik Gallery (Seoul), Kaze
Gallery (Osaka, Japan), Walsh Gallery (Chicago, USA),
Jain Marunouchi Gallery (India), etc.
Collections; Metropolitan Museum of Art, New York, USA, etc.
Chung Zu-young Painting
B.F.A., in Painting, Seoul National University
Meisterschueler (by Prof. Jan Dibbets), Kunstakademie
Duesseldorf / De Ateliers
Solo exhibitions: partes extra partes, GALLERY HYUNDAI,
Yun Dong-koo Painting/Sculpture
B.F.A, Rhode Island School of Design, Providence, U.S.
M.A.F, Korea University
Solo Exhibition; Space IMA Project, Moin Gallery, etc.
Collections; Metropolitan Museum of Art, NY, U.S., etc.
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Design
The Department of Design is founded on the
conviction that “the cultural industry can never
blossom without strengthening its cultural roots
and foundation”. It regards the key role of design
as framing new values and culture to coincide
with the constantly changing living environment.
Its purpose is to foster train specialists to
explore contemporary design issues in a more
fundamental and conceptual way for innovation
that’s both meaningful and impactful.
Educating Design Leaders — Focusing on
its majors in Interaction Design, Visual
Communication Design and Transportation
Design, the curriculum provides integrated
education that acknowledges individual
distinctiveness, explores future-oriented
alternatives, and seeks to maximize the impact of
outstanding individuals through collaboration
and interaction.
facult y
Kim Kyung-kyun Visual Communication Design
B.A., Visual Communication Design, Hong-ik University
M.A., Advertising Design, Hong-ik University
M.A., Visual Communication Design, Tama Art University
The President’s Award from the Korea Industrial
Design Exhibition
Published; <So Many Men, So Many Minds>,
<The Power of Japanese Culture>, etc.
Kim Sung-yong Transportation Design
B.S., Transportation Design, Art Center College of Design, U.S.
M.S., Transportation Design, Art Center College of Design, U.S.
Designer, Ford Motor Company, Dearborn, Michigan, U,S,A.
Full-time Instructor, Art Center College of Design,
California, U.S.
Assistant Professor Instructor, HongIk University
Park Inn-seok Visual Communication Design/
Basic Design/Cultural Design
B.A., Applied Arts, Seoul National University
M.A. Coursework Completed, Industrial Design, Seoul
National University
Diplôme DSAD(Equivalent to Master Degree), Ecole
Supérieure des Arts Décoratifs de Strasbourg, France
Head Researcher for Ministry Identity Program
Project, MCST, etc.
Head Researcher for Design Process Innovation(DPI)
Manual Project, SBA, etc.
Yang Seung-mu Interaction Design
B.A., Industrial Design, Seoul National University
M.A., Interaction Design, Royal College of Art, U.K
A visiting professor, Dept. of Information Art & Design,
Tsinghua University, P.R. China
[Wireless-controlled interactive electric screen based
mobile content for 2008 Olympics], Beijing Pervasive
Game symposium and workshop, Academy of the Arts
and Design & Institute of HCI and Media Integration,
Tsinghua University, China, etc.
Beijing 798 International Industrial Design, Honor
Forum Award
The 20th anniversary exhibition of design department
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Graduation work of the visual design department
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Architecture
The Department of Architecture trains architects
to have architectural design capabilities in
interior, landscape, environment, complex
and urban design to embrace contemporary
living environments, while also satisfying the
traditional focus on building design skills. The
Department of Architecture in K-Arts is situated
within the School of Art, rather than the School
of Engineering, a feature which distinguishes
from all other such departments in Korea. This
important feature shows the emphasis taken here
on the creative aspects of architecture alongside
the engineering part, as evidenced by the media
studio courses that have been launched. This
two-fold approach helps the Department enable
students to constantly experiment and explore
new ways of expression and thinking about
architecture.
provide a level of depth and intensity not found
in similar courses elsewhere, while also offering
theoretical courses attended by the optimal
number of students. The faculty goes with
students of all years on architectural field trips
within Korea and to other countries in the spring
and autumn. These fieldtrips enable the attendees
to broaden their perspective on architecture
and reinforce the fellowship among members of
the Department. Graduation shows and yearend exhibitions are held at the end of the year,
providing an opportunity for students to showcase
the skills they have built up during the year.
Students have the chance to explore themes that
are difficult to be examined during the semester
through workshops held over the vacation period,
which are also open to the public.
Five-year Curriculum of Architectural Studies
— The Department offers a five-year curriculum
of architectural studies focusing on theoretical
design and practical theory under its two main
goals of studying architectural design and
theories. This approach emphasizes the essence
of unique design education, grounded in the
certification standard of the Royal Institutes of
British Architects (RIBA). Furthermore, the
Department is currently targeting accreditation
from KAAB (Korea Architectural Accrediting
Board) by 2015 for the degree courses of the
Department of Architecture. This accreditation
would allow students to become ‘registered
architects’ to be able to go onto a career as an
architect in Korea upon graduation.
facult y
In-depth and Intensive Education — The various
design studio courses on offer here each year
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Kim Bong-ryol Korean architectural history
and theory
B.S., Seoul National University
Ph.D, Seoul National University
Architectural Association Graduate School of
Architecture, UK
Member of Cultural Heritage Committee, Director of
Korean Association of Architectural History(KAAH), etc.
Kim Byung-chan Art History
B.A,, Korea National University of Arts
M.Sc., in Architecture, Delft University of Technology,
The Netherlands
2013 BUGAIK International Architecture
Exhibition in Busan
Project Architect/Architect in Concept Design B.V.,
The Netherlands
Registered Architect, Bureau Architectenregister,
The Netherlands
Assistant Professor, Architecture, Dong-A University
Awarded in international competition of Busan Opera
House, professional group, 3rd Prize(Honorable Mension)
Kim Jong-kyu Architecture Design
B.S., Yonsei University
AA Diploma at Architectural Association School
of Architecture
Registered Member of ARCUK (Architects Registration
Council of the United Kingdom)
Exhibition; Thames Housing (London) - Oasis (RIBA
International Student Competition) Royal Academy,
London, UK, etc.
First Prize Korean Architecture Award, etc.
Kim Tae-young Architectural Design
B.S.C., Seoul National University
M.Sc., Seoul National University
UCL (University College London), the Bartlett School
of Architecture, Design PhD program
Senior Associate, Gensler London
Atelier 7 tutor, University of Greenwich, London Jury/
Critic, Central Saint Martins, South bank university,
Catholic University of America Paris Studio
Research Grant, Museum Residence, The Canadian
Centre for Architecture, Montreal
Art Theory
The Department of Art Theory was established
to train specialists in ways to objectively analyze
all kinds of visual culture through in-depth
experience. Students in this Department study
the general concepts underlying the arts, with
discussions on contemporary aesthetics and
thorough examination of Eastern, Western
and Korean art history. This approach enables
students to develop a “critical eye” with which to
legitimately and properly assess the art of the past
and the present and, furthermore, to clarify the
social and cultural meaning of art.
Thorough Education of Majors — The
undergraduate program provides a thorough
education of majors that starts from the
freshman year in order to foster practitioners
adept at theoretical specialization. Freshmen
and sophomores learn foreign language skills,
master the basics of humanities and acquire an
understanding of the foundations of art history,
while juniors and seniors learn about the various
forms of contemporary art, new art theories
and research methodologies. Students can
form individual, yet creative visions by learning
substantial things in art museums, practical
explorations, or by participating in intensive
discussion courses. Moreover, cooperation with
other schools enables students to maintain a
sense of realism by attending courses in formative
practice and criticism, skills needed by theorists.
Students also go on fieldtrips every semester to
check on the things they have learned in class.
What’s more, students are able to gain a broad
Park Sun-woo Structural Design
B.E., Korea University
M.E., Korea University
RWTH-Aachen, Dipl.-Ing. Aachen, Germany
Dortmund Universitaet, Dr.-Ing. Dortmund, Germany
First Prize 42nd National Line Footbridge Design,
TEDAL Line Footbridge Design, Tianjin, China, etc.
Woo Don-son History of Modern Architecture
B.E., Architecture, Seoul National University
M.E., Architecture, Seoul National University
D.E., Architecture, The University of Tokyo, Japan
Visiting Scholar, University of California at
Berkeley, Berkeley, U.S.
Awarded 2006 SAH Senior Annual Meeting Fellowship
perspective through the many opportunities they
have to encounter various genres and theories of
art from the six schools. The graduate program
provides a more intensive knowledge base than the
undergraduate program. It provides a curriculum
that blurs the lines between specialized training
in Eastern and Western art theories and current
practice within the art world.
facult y
Cho In-soo Art History(Korea and China)
B.A., Archaeology and Art History, Seoul National University
M.A., and Ph.D., History of Art, University of Kansas, U.S.
Visiting Scholar at Korea Institute, Harvard University
Published; “Picturing spirit; Portraiture in East Asia”, co-edited,
“Sages, Literati and Immortals: Korean Figure Paintings.”
Jin Whui-yeon Art History
B.A. Archaeology and Art History, Seoul National
University
M.A., Ph.D., History of Art, Columbia University
Assistant professor at SungshinWomen’s University
Published; “What is Avant-garde?”, “Painters at le Rue
de’Opera”, “Coexisting Differences: Women Artists in
Contemporary Korean Art”
Curation; “Women’s History through generational
maturation”, “The Spectrum of Pure Harmony”, “Postpainterly Canvas”
Yang Jeong-mu Art History
B.A., Archaeology and Art History, Seoul National University
Ph.D., History of Art, University College London,
University of London, UK
Thesis: “Colour in Venetian Renaissance Painting; Socioeconomical Approach”, Association of Western art History,
“The Components of Visual culture in Renaissance Italy; a
Seminal Study”, Art History and Visual Culture, etc.
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Admissions
Guide
To select students with creativity, talent and
intellectual ability, the School of Visual Arts breaks
away from an over-reliance on the rigid conventional
entrance examinations by adopting a multi-phase
examination for verification. It implements an indepth practical test in the form of a workshop to
assess students’ diversity of thinking and their
creativity, two capabilities that cannot be revealed
through a simple practical test. This method allows
the School to measure the students’ thinking skills
and scholastic ability by specifically observing their
interest and talent in art.
The details of the entrance examination system for
each Department are as follows.
Fine Arts
The Department of Fine Arts focuses on selecting
students with outstanding creativity by presenting
an alternative type of practical test that is completely
different from the conventional examinations of
art colleges that select students based on uniform
standards, such as sketching plasters. Applicants
are assessed on the basis of their observation
skills, thinking skills and expressiveness. Applicants
must undergo a practical test, followed by an indepth practical test held over three days that
examines students’ imagination, logical thinking and
communication skills. Assessors evaluate not only
the output, but also the ideation and process, with
applicants judged for their qualification and ability as
artists.
Design
The Department of Design focuses on assessing
the abilities required by designers, such as the
ability to visually express their ideas and concepts,
and the presence of communication skills grounded
in validity and logic. The first examination measures
the level of knowledge and refinement required
by potential designers, and the second in-depth
practical test analyzes and assesses the general
knowledge and individual characteristics required to
be nurtured as designers.
108
Architecture
The Department of Architecture requires students to
have the ability to scientifically analyze and integrate
objects, express various concepts, and have both
an enterprising spirit and critical thinking skills. The
Department selects students who display talent not
only in the engineering aspect of architecture, but
also the creative aspect. Therefore, the entrance
examination of the Department of Architecture
measures the students’ critical and logical thinking
skills and intellectual rigor based on written tests
and high school records, similar to the admission
requirements at the architecture departments
of other colleges. However, alongside this
requirement, there is a practical test for applicants
to assess the students’ artistic talent, creativity, task
analysis skills, spatial perception skills, and rational
thinking skills. The oral test requires students
to bring references that reveal their abilities and
experiences, allowing the Department to assess the
students’ expressiveness, interest in the major and
overall aptitude.
Art Theory
The goal of the entrance examination in the
Department of Art Theory is to select students with
the academic ability required to study their majors,
build foreign language skills, and learn the basics of
the humanities. The focus is therefore on a written
admissions test designed to comprehensively judge
the students’ academic abilities. Since K-Arts does
not reflect the College Scholastic Ability Test held
by the Ministry of Education, the Department of
Art Theory selects students based on the common
written test of the School of Visual Arts, as well as
high school student records, essay test and oral test
in order to perform in-depth and objective evaluation
of students’ academic abilities.
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Major
Facilities
Media Equipment Room
Equipment for media (photography, holography,
video, and media arts) is stored in this room for
students to rent whenever they need.
Media Work Room
Computer Lab — The lab serves as a classroom
for courses in the digital arts, such as digital
photography, basic video editing, and computer
programming.
Edit Lab (Video, Sound) — There are two rooms
equipped with Toaster video editing system,
individual edit labs each equipped with Speed
Edit and Adobe Premier programs, and a room for
lectures, screening and video editing.
Hologram Lab — The lab provides an opportunity
for students to better understand and experience
the media field of holograms. It includes major
hologram equipment, such as lasers, chemicals and
films, as well as hologram mirror holders.
Wood Studio — This studio enables students to
understand the characteristics of wood materials
and to learn how to use various woodwork machines
to express their ideas effectively. Equipment
includes round table saws, cutters, Powermatic
tools, routers, and band saws.
Metal Studio — Students learn about the
characteristics of metal materials by using welding
and cutting machines, and create various sculptures
by working to elicit and explore the characteristics
of the materials present.
Model Studio — This is a state-of-the-art studio that
turns designs, models, sculptures and artworks into
a database, mechanizing things that had been done
by hand using a computer. Programs such as CAD,
CAM, and DNC are used, along with CNC machine,
RP print, laser-cutter, 3D coordinate measuring,
vacuum casting and forming and flat engraving
machines, mini shelf, and painting booth to create
and study student works.
Wood Studio
110
Engraving Lab — There is the copperplate room for
copperplate print and silkscreen, and a lithography
room for woodcuts and lithographs. For lithography,
a large amount of marble extracted from Germany is
used in class.
Glass Studio — The studio is equipped with a
melting furnace that heats and melts glass to
enable students to create various works using hot
working techniques. Moreover, students are able
to experience various genres of glass craft through
casting and cold working techniques using a kiln.
Ceramic Studio — Students can make ceramics
using various techniques, from basic forming using
soil to casting using plaster mold. There are rooms
for ceramic molding, wheel throwing, plaster
casting and glazing, along with a kiln room equipped
with multiple gas and electric kilns.
CAD Lab — This lab is furnished with five large-sized
plotters, laser printers and scanners to provide an
environment for design and other tasks.
Galleries of the School of Visual Arts
Gallery 175 — Located in Anguk-dong, Gallery 175
hosts various exhibitions, including the graduation
shows for both the undergraduate and graduate
programs; special exhibitions for the winners of
Gallery 175 competitions; solo exhibitions and
international exchange exhibitions; and special
exhibitions hosted by the Center for Visual Studies.
Affiliated
Institutions
Center for Visual Studies
The Center for Visual Studies was established to
lay the groundwork for a qualitative improvement
of research and creative activities throughout the
field of fine arts. It was founded to build a high-level
culture of art and narrow the distance between
the general public and art based on collaboration
between art and industry. The Center is dedicated
to the study of fine arts in the Department of Art
Theory, and it is in charge of planning, administration
and implementation of timely exhibitions,
symposiums, and publications.
The annual projects of the Center consist of the
operation of the galleries and publication of Visual.
The Center was in charge of planning the exhibitions
of Gallery 126 and KNUA Gallery that opened in
October 2000, and is currently in charge of planning
the exhibitions and managing Gallery 175 (located in
Anguk-dong, Jongno-gu) and Gallery B105 (currently
Gallery 104/on campus) that opened in August 2003.
In Anguk-dong, Jongno-gu, there is a concentration
of art institutions and Gallery 175 has positioned
itself as a venue for young artists to express their
artistic language. Gallery B104 located in the
basement of the School of Visual Arts is an outcome
of the efforts made by its faculty. Its founding
design was to prove that creation and presentation
are inseparable and it primarily hosts exhibitions of
student projects and contests. Another key project
of the Center for Visual Studies is the publication of
Visual. Since the first issue in 2002 was published to
provide a theoretical foundation of art creation based
on in-depth analysis and research of arts and visual
culture, there have been ten issues published todate. Based on timely planning, it has contributed to
satisfying the intellectual needs of readers who are
at least masters of art colleges, and at establishing
a rich discourse centered on contemporary practice
in the art world. Starting with the feature “Restating
Paintings” of the first issue, Visual has covered
many aspects of art, such as “Placeness”, “Art in
Visual Culture”, “Arts, Money and Power”, “Beyond
Nationalism”, “Art and Society”, “Art in the Public
Sector”, “Global Movements and Young Artists”, and
“Place and Art Activities”. Vol.11 will be published in
September 2014, covering “Art Education”.
Gallery B104 — Gallery B104 is open to all students
of K-Arts and it receives submissions of their
exhibition plans every semester. Students have the
opportunity to experience organizing and actually
participating in an exhibition, which can be an
expanded venue for their practice in art.
Art Theory — The Art Theory is made to encourage
students of the Department of Art Theory to practice
the overall process of exhibition planning. Part of the
second-floor hallway of the School of Visual Arts is
used as an exhibition space.
Gallery B104
Gallery 175
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전통예술원
School of
Korean
Traditional Arts
Dept. of Korean Traditional Ar ts Theor y
Dept. of Korean Traditional Music
Dept. of Korean Traditional Dance
Dept. of Traditional Korean Dramatic Per forming Ar ts
Dept. of Korean Traditional Music Composition
The School of Korean Traditional Arts is a higher education institute dedicated to nurturing experts capable of adjusting to today’s traditional music scene through academic study of traditional performing arts, with a strong focus
on instruments, song and dance to maximize performance ability. The School is a place in which broad insights and
fierce artistic spirit are naturally transferred to the students beyond the limitations of conventional apprentice-based
art education with simple technical repetitions. Indeed, the School is oriented around education that inherits and
then reinvents the tradition based on the spirit of “learning the new by reviewing the old” to harmonize tradition
with creation. It deserves to be called its popular title of “repository for content prototypes” by initiating performing
arts in Korea and providing the prototypes for other Schools. The School of Korean Traditional Arts is dedicated to
good faith interaction with other Schools to create new performance styles. It is proud to take the initiative to create
21st-Century Korean arts education by developing collaborative projects with each School.
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C urriculum
Dean’s Message
The School of Korean Traditional Arts encompasses the following Departments: Department
of Korean Traditional Arts Theory, established for the systematic organization, aesthetic
definition and future prospects of traditional performing arts; Department of Korean
Traditional Music, which is divided into Instrumental Music and Vocal Music majors;
Department of Korean Traditional Dance that seeks new vistas in Korean dance rooted in
traditional dances, such as court dance and folk dance; Department of Traditional Dramatic
Performing Arts that comprehensively trains students in dramatic performing arts, such
as talchum (mask dance), pungmul and shamanistic dance; and Department of Korean
Traditional Music Composition, which was established to expand and develop the repertoire
of future Korean music.
The eternal foundation of traditional arts education is a thorough “training of the physical
body.” The School is proud to feature outstanding performances and productions
as ways for students to engage with and gain actual on-stage experience. With the
opportunity to hold joint performances with professors and present their productions
every semester, students can gain and learn from stage experience. Moreover, as music,
dance and performing arts are all offered within the same School, it is easier for students
to collaborate. As such, the School is designed to provide education that combines
instruments, song and dance, which are the sources of the traditional arts.
H istor y
M a r . 1 9 9 8 Opening of the School of Korean Traditional Arts (Departments: Korean
Traditional Arts Theory, Korean Traditional Music, Korean Traditional Dance,
Traditional Korean Dramatic Performing Arts)
Inauguration of the 1st Dean (the late Professor Baek Dae-woong)
M a r . 1 9 9 9 Establishment of the graduate program (Korean Traditional Arts Theory,
Korean Traditional Music)
The soul of the Korean people finds expression in Korean Traditional
Arts. Korea has ultimately accepted and internalized the great creeds
and religions of the world, such as Buddhism, Confucianism and
Christianity, and we as a people have a deep cultural capability to
digest diverse cultures. As such, our reliable cultural capability forms
the foundation for the creation of new arts. In art history, interaction
with surrounding cultures and the creation of new arts define what
it is to be an artist. The School of Korean Traditional Arts has two
goals: one is to study the traditional arts that embrace Korean people’s
identity, and the other is to create new arts that meet contemporary
challenges through academic study. Globalization has given way to
glocalization, with the immediate now more important than ever and
a global perspective that’s smaller than ever. Such changes have had a
profound impact on contemporary artistic practice. We must not let
the original goal of art be thrown into confusion. We must establish
the identity of Korean culture as rooted in Korean Traditional Arts
and foster creative competencies for the future artistic practice. This
is the way to fulfill the noble spirit of the arts for the greater future of
Korea, Asia and the world.
M a r . 2 0 0 2 Establishment of the graduate program (Korean Traditional Dance,
Traditional Korean Dramatic Performing Arts)
M a r . 2 0 0 4 Inauguration of the 2nd Dean (Professor Kim Young-jae)
Dean of the School of Korean Traditional Arts
Min Eui-sik
M a r . 2 0 0 6 Inauguration of the 3rd Dean (Professor Jeong Jae-gook)
M a r . 2 0 0 8 Inauguration of the 4th Dean (Professor Kim Hae-sook)
S e p . 2 0 0 8 Performance and event in celebration of the 10th anniversary of the School of Korean
Traditional Arts (Musical “Hui”, alumni’s concert, professors’ concert, symposium)
M a r . 2 0 1 0 Inauguration of the 5th Dean (Professor Min Eui-sik)
M a r . 2 0 1 2 Inauguration of the 6th Dean (Professor Geong Soo-neon)
S e p . 2 0 1 3 Separation of the Composition major of the Department of Korean Traditional
Music to the independent Department of Korean Traditional Music Composition
M a r . 2 0 1 4 Inauguration of the 7th Dean (Professor Min Eui-sik)
114
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Korean
Traditional
Arts Theory
The primary educational objective of Korean
Traditional Arts Theory is the academic research
of traditional performing arts, such as traditional
music, dance, and dramatic performing arts.
The Department provides a future direction for
Korean arts through historical, philosophical and
aesthetic definition of traditional arts. The guiding
principle is to establish a theoretical foundation
for the creation of new types of performing arts
based on theories that reinterpret traditions from
a contemporary perspective.
Programs that foster a global perspective —
General courses are designed to be closely related
to the theoretical and cooperative programs of
other Schools for a solid academic foundation.
For freshman and sophomore years, there are
various courses available on foreign languages,
critical thinking skills, leading art theories and
the practice of traditional arts. These courses
are accompanied by comparative art studies of
Korea and other countries based on art research
methodologies as part of a humanities-based
pedagogical approach.The curriculum is not
bound to traditional arts; rather, it offers open
classes for students to interact with other genres of
art, broaden their artistic perspective, and develop
objectivity to accurately determine the status of
traditional arts within contemporary society.
Moreover, students are able to develop the insight
required to view and develop Korean Traditional
Arts from a global perspective.
Intensive and rigorous curriculum for major —
Students receive intensive training on the selected
Korean
Traditional
Music
The educational goal of the Department
of Korean Traditional Music is to cultivate
students’ performance and creative capability
so that they can not only carry on the practice of
traditional music, but also reinterpret it to meet
the challenges of the 21st Century. Based on a
solid grounding in traditional music, students
develop new performance techniques and expand
their repertoires. This helps them maximize
their performance and creative capability and
ultimately attain musical independence with a
high level of artistic ability.
Specialized education and practical coursebased curriculum by major — The Department
of Korean Traditional Music offers majors
in Instrumental Music, Vocal Music, and
Composition. The Instrumental Music major is
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majors in junior and senior years. Students whose
majors in various fields have been decided are
each assigned to experts in the field for one-to-one
personal training. Most majors are divided into
the history of individual genres, systematology,
or applied arts such as planning and cultural
theories. To graduate, students must submit
at least one research paper, which is usually
presented at an annual academic symposium
hosted by the Department of Korean Traditional
Arts Theory in October. Students who fail to
present a paper are not qualified for graduation.
facult y
Lee Dong-yeun Theory of Culture/Policy
of culture and art
B.A., M.A., Doctorate, Literature, Chung-ang University
Editor of Science of Literature
Director of the Society for Korean Historico-Musicology
(Corporation), Head of Korea Art Research Center
A meritorious Prize, 2007 Korea Game Award,
Excellent Books by Ministry of Culture, etc.
Lee Jin-weon Korean Musicology
B.A., KAIST
M.A., Musicology of Korean Music, Seoul National University
Ph.D., Musicology, Central conservatory of Music in China
Director of the Research Society of Korean Tungso, the
Society for Korean Historical musicology
Published; <Monographs ‘Korean chivalric Novel
History (Chaeryun, 2008)>, etc.
Sung Ki-sook Theory of Traditional Dance/Criticism
B.A., Suwon University
M.A., Ph. D, Oriental Philosophy, Seonggyungwan University
Researcher of National Research Institute of Cultural Heritage
Publisher of <Chum gwa Damnon>
Director of Yeonnak-jae, Museum of dance materials
divided into study of the gayageum, geomungo,
daegeum, piri, haegeum, ajaeng and percussion
instruments. The Vocal Music major is divided
into study of pansori, minyo, gayageum
byeongchang and jeongga. Students receive oneto-one tuition from two prominent instructors in
the field each semester over the four years of the
program. They also acquire all the techniques and
artistry demanded by traditional music through
participation in various performances every
year, including traditional music and orchestral
ensembles. The Vocal Music major trains students
to become outstanding performers in new
kinds of theatrical music by going beyond the
boundaries of different genres. The Composition
major fosters the students’ ability to expand the
scope of traditional music from classical music to
dance, theatrical, background and applied music.
Various annual recitals and concerts of each major
are offered in addition to regular class as a way to
foster professional performers, allowing students
to gain on-stage experience. Students improve
their abilities by practicing all night to prepare for
their recitals. They are also required to hold solo
recitals for graduation to take their performance
to a professional level.
Nurturing creativity based on a strong foundation
— Along with practical courses, students take
courses that cultivate knowledge of the humanities
befitting college students. Freshmen and
sophomores take core courses in the traditional
arts, such as Introduction to Traditional Music
and History of Korean Music, as well as required
courses in the School’s cooperative program, such
as English, classical Chinese, logical writing and
communication skills.
In addition, courses such as Criticism &
Appreciation of Performing Arts and Traditional
Performing Arts Media & Contents help
students develop their critical eye about art and
understand the contents of traditional arts in
order to communicate with the present day. It
fosters the students’ ability to create new forms of
arts, beyond simply imitating and preserving the
arts of the past.
facult y
Geong Soo-neon Haegeum
B.A., Musicology, Chung-ang University
M.A., Musicology, Seoul National University
Executive of Korea Haegeum Ensemble, Art Director
of A-rri Ensemble
Many overseas Haegeum performances in Germany,
Russia, China, England, etc.
Gugak Grand Prize(wind instrument) KBS, Award of
Young Artist of Today Ministry of Culture and Tourist, etc.
Croatia, Bangladesh, England, etc.
Special Award Gonggan Modern Music, Performance
Award, Gwanjae Gujak Prize, etc.
Kim Jeong-seung Daegeum
B.A., Musicology, Seoul National University
M.A., D.M.A., Musicology, Seoul National University
A member of Contemporary Music Ensemble Korea,
University of California Santa Cruz (UCSC) Regent’s
Lecturer (2009) and Visiting Scholar (2010)
Gugak Grand Prize (wind instrument) KBS, Award of
Young Artist of Today Ministry of Culture and Tourist,
Collaborate with Turkye President Orchestra, Gedai
Phil Orchestra and BROMEO String Quartet etc.
Performed with most major orchestras in Korea
Kwak Tai-kyu Piri
M.A., Education, Hanyang University
Important Intangible Cultural Asset No.46
Music Advisor of 21st Century Piri Music Society
Awarded KBS Gugak Grand Prize(wind instrument part), etc.
Min Eui-sik Gayageum
B.A., M.A., Seoul National University
Completion, Doctor course, Korea University
Invitational Concerts in England, Japan, United States
of America, Canada, France, and Italy, etc.
Grand Prize, Contribution Award, Award of Brilliant Music
Instructor of Choe Ok-sam school Gayageum Sanjo, etc.
Yoo Young-ju Geomun-go
B.A., M.A., Ph.D., in Korean Traditional Music,
Hanyang University
a chief player of Seoul Traditional Music Orchestra
director of Korean Geomungo Ensemble
Major Albums: ‘Yoo Young-ju Geomun-go recitals’
1~3, Yoo Young-ju Geomun-go recitals 4~6
‘Landscapes with Geomun-go’
Winner of Dong-a Traditional Music concourse special
prize and Jeonju Daesasebnori prize
Kim Hae-sook Gayageum
B.A.,M.A., Musicology, Seoul National University
Doctorate, Musicology, Academy of Korean Studies
President of Korean Sanjo Music Society
Invitational Concert in Germany, Poland, Hungary,
Performance of Pansori
K-arts Haegeum ensemble <Aehaeiyo>
119
Korean
Traditional
Dance
By focusing on practical courses designed to teach
the true composition principles and various forms
of Korean traditional dance, the Department
of Korean Traditional Dance aims to foster
leaders of Korean dance capable of addressing
contemporary challenges and creatively
interpreting the tradition for the next generation.
Systematic curriculum — The basic courses
for freshmen and sophomores consist of core
practical courses for dance, as well as courses
that cover all genres of traditional dance. By
offering courses covering all dance forms, from
dances designated as intangible cultural assets to
new dances developed since modernization, the
curriculum helps students learn about the origin
of Korean dance with their body. Accompanied
by theoretical courses that help provide a general
understanding of Korean dance, the curriculum
is designed to nurture artists through both theory
and practice.
Dance Choreography, Analysis on Dance
Artworks, and Aesthetics of Korean Dance
courses in the junior year enhance students’
ability to analyze and have a critical eye for
dance. Courses on reinvention and the practice
of tradition are offered to empower students to
become the future leaders of Korean dance. In the
senior year prior to graduation, students undergo
the process of reviewing what they have learned
and incorporating it into their works. They are
required to present a form of traditional dance,
such as folk and court dance, choreograph new
dance steps on their own and then perform them
at the graduation show, which is a mandatory
requirement for graduation.
<Sounds of the Coming Spring>, 2014
120
Intense training — The Department of Korean
Traditional Dance has many required courses,
which is a result of reflecting the characteristic
feature of traditional dance: namely, its
collectivity. The advantage this has from an
educational standpoint is that it prevents
students from becoming idle in their college
years. Classes require complete attendance and
dance performances on a regular basis to help
students devote most of their time to dance. This
rigorous training enables students to acquire the
ability as masters in the field. Frequent recitals
and performances also help them gain on-stage
experience, and reinvention training fosters their
ability to express their emotions. This is why
there is a need for intense training to meet the
requirements of art led by the physical body.
facult y
Park Eun-young Korean Traditional Dance
B.A., M.A., Korean Dance, Ewha Womans University
Ph. D, Dance Science, Hanyang University
Performance and director of Court Dance;
Gainjeonmokdan (佳人剪牧丹), Monggeumcheok
(夢金尺), Mugo (舞鼓), Seonyurak (船遊樂),and etc.
Published; <Understanding of Court Dance>, etc.
Yang Sung-ok Korean Traditional Dance
B.A., Kyunghee University
M.A., Dance education, Chung-ang University
Initiating Instructor of Taepyeongmu, Important
Intangible Cultural Asset No. 92
Published; <An Illustrated Guide to Taepyeongmu>
Performance of Buddhist dance
121
Traditional
Korean
Dramatic
Performing
Arts
The primary educational goal of the Department
is to restore the essential sensibility of traditional
Korean dramatic performing arts by focusing on
practical courses, such as pungmul, shamanistic
dance, mask dance and performances by
professional performing groups, most of which are
enjoyed and reflected in the lives of Korean people.
The Department aims to creatively inherit tradition
by producing new kinds of dramatic performing
arts and theatrical performance to contribute to the
growth of traditional arts in the future.
Varied and wide-ranging curriculum — The
Department of Traditional Korean Dramatic
Performing Arts requires students to take
practical courses on pungmul, shamanistic dance,
mask dance and performances by professional
performing groups for four years in order to
gain a thorough grounding in the traditional
Korean dramatic performing arts that have been
passed down from generation to generation.
Such courses are provided regardless of major to
help students grow into talented comprehensive
artists with access to a varied and wide-ranging
spectrum of artistic experience. The varied
repertoire defined by local elements for four
years not only strengthens students’ practical
ability, but also provides various sources for new
dramatic performing arts. With comprehensive
traditional arts covering musical instruments,
song and dance, the Department fosters wellrounded artists who are skilled in traditional arts
by providing courses on percussion, traditional
vocal music and dance, and melodic instruments
such as taepyeongso. Moreover, the Department
nurtures true artists capable of balancing theory
and practice by offering theoretical courses,
such as History of Korean Folklore Performance,
Criticism & Appreciation of Performing Arts, and
Carnival & Folk.
122
dramatic performing arts that communicate with
the present time, rather than settling on the past.
To this end, required courses such as Production
of Folklore Performance, Fieldwork of Traditional
Theatrics, and Practice of Newly Composed
Works are provided to guard against merely
imitating what has been done in the past. The
curriculum enables students to tell stores based
on contemporary discourse, while seeking out the
materials of the past to create dramatic performing
arts that can attract modern people. The four-year
program helps students restore their artistic spirit,
skillfully perform various traditional performing
arts, and explore the fundamental emotions and
principles of traditional dramatic performing
arts based on a thorough grounding in musical
instruments, song and dance.
facult y
Choi Chang-ju Korean Traditional Dramatic
Entertainment/Mask Dance
B.A., Seoul Institute of the Arts
Degree in Performing Arts from the Graduate School
of Culture and Arts, Dongguk University
Initiating Instructor of Bongsan Talchum Important
Intangible Cultural Asset No.17
Published; <Traditional Culture and Health>,
<Aesthetic Movement of Mask Dance>,
<Performance Planning and Art Administration>, etc.
Kim Duk-soo Korean Traditional Dramatic
Entertainment / Shamanism
Graduated from National Highschool of Traditional Arts
Student of completion of Taepyeongmu, Important
Intangible Cultural Asset No. 92
Discography; <Drums and voices of Korea>,
<Samulnori>, <Nanjang – A new horizon>, etc.
Award of Presidential Prize at National Farmers Band
Music Contest, Conferred the national medal The Merit
of Silver Crown Culture, etc.
Curriculum for the future of traditional dramatic
performing arts — The ultimate goal of the
Department of Traditional Korean Dramatic
Performing Arts is to develop new kinds of
Kim Won-min Korean Traditional Dramatic
Entertainment/Pungmul
B.A., M.A. Korea National University of Arts
Artistic director of Siheung Traditional Art Company
Performed Shiheung Wolmi Doore Pungmul Nori
based on historical research
Directed traditional dramatic plays <The Temptation of
the Golden Chicken>, <Mr. Park’s Dream>
Won the Grand Prize (Prime Minister’s Prize) at
Pungmul Contest of Gimje Horizon Festival
SeoulGut – the traditional Korean Bongsan masked dance
SsitkkimGut – Shaman ritual for cleaning dead person’s soul
123
Korean
Traditional
Music
Composition
The Department of Korean Traditional Music
Composition educates students in traditional
arts and reinforces educational contents for the
future development of Korean culture. With the
increasing global spotlight on the Korean wave
through high-class Korean traditional culture,
Korean music composition has an unprecedented
opportunity to strengthen its global foothold
through refining its competitive edge. The field
of composition that forms the basis of traditional
cultural contents demands a more specialized
and reinforced program to nurture composers
who can carry the traditions to a global audience.
To this end, there is a need for more diversified
and detailed curriculum contents designed to
teach composition. Moreover, it is necessary
to implement a specialized curriculum that
can encompass various sub-majors, such as the
composition of creative music, dramatic music,
film music, computer music and conducting.
The Department of Korean Traditional Music
Composition had been a part of the Composition
major in the Department of Korean Traditional
Music, but it has been opened as a new
Department since the second semester of 2013.
We look forward to seeing the graduates of the
Department play a key role in understanding and
imparting the values of traditional arts across the
Korean music world.
facult y
Lim June-hee Composition
M.A., Ph.D., Indiana University, School of Music,
Doctor of Music
B.A., in Composition, Yonsei University
Performed ‘Soul Mate’ at Frankfrut Opera Theater
appointed by National Opera Company (2006) as a
premiere opera, then performed it in Seoul, Japan, and
the Beijing Olympics
Main Works: Opera <Soul Mate>, <Karma>, Korean
Traditional Cantata <Uboosasisa>, Cantata <HanRiver>, Orchestral works <Altaic Ritual>, <Dancing
Arirang>, Traditional orchestral works
Won Il Composition/Conduct
B.A., Chugye University
M.A., Musicology, Chung-ang University
Student of Completion of Daechita, Important
Intangible Cultural Property No.46
Award of Young Artist of today Ministry of Culture
and Tourism, Daejong (Great Bell) Music Award
(Kkonnip, Petals), Areumdaun Sijeol (Beautiful Time),
Composition Award of KBS Gugak Grand Prize, etc.
Admissions
Guide
Since its foundation, the School of Korean Traditional
Arts has acted in accordance with K-Arts policy by
not focusing on the College Scholastic Ability Test
(CSAT) scores when determining admission. The
goal of student selection is to nurture professional
artists focused on practice, creators who can reinvent
traditional arts, and artists with identity. Only the
most outstanding students are selected on the basis
of their potential and creativity.
The entrance examination of the School of Korean
Traditional Arts is held twice a year: with special
admission in August and regular admission in
October. In addition, admission opens in October for
foreign students who display the excellent artistic
competencies required to keep pace with the
global era. The entrance quota for foreign student
admission is excluded from the total quota. The
number of admitted students may not reach the quota
if the scholastic ability of applicants is insufficient.
Regular admission is generally divided into the first
and second examination. In the first examination,
students take a test focused on the practice of their
major, while in the second examination they take
a test that requires broad knowledge and artistic
refinement. The characteristics of the admission
system in each Department are as follows.
Korean Traditional Arts Theory
The Department of Korean Traditional Arts Theory
selects students through an essay test that
evaluates their ability to coherently and clearly
describe their views on the characteristics of
traditional arts, contemporary meaning and art
culture in general. In addition to the essay, the
first examination also includes a language skills
element (English reading) that forms the basis
of all humanities-based education at K-Arts. For
the second examination, students take a Korean
Traditional Arts history test as well as an oral test.
Korean Traditional Music
K-arts Haegeum ensemble <Aehaeiyo>
124
The Department of Korean Traditional Music has
different tests for each major. The Instrumental
Music major assesses students’ performance of
classical music, sanjo and created songs on the
basis of technique and musical understanding. The
Vocal Music major assesses whether students
fully understand the diverse repertoires of their
specialties. Both majors require students to take a
sight-singing test. The second examination includes
greater in-depth assessment of the major, testing
students on their thoughts about culture in general, as
well as their logical skills through a written test, which
is taken by students irrespective of major, including
Instrumental Music, Vocal Music and Composition. In
addition, an oral test evaluates whether students can
cogently express their thoughts in speaking.
Korean Traditional Dance
For the first examination of the Department of Korean
Traditional Dance, students can select one Korean
dance of their choice for the test, and are assessed on
the ability to express core dance steps. The second
examination requires students to quickly learn the
movements of a short piece that is composed of basic
dance steps provided on the day of the test. Like the
second examination of the Department of Korean
Traditional Music, students also take a written test in
which they organize their thoughts in writing, and an
oral test in which they express themselves in speaking.
Traditional Korean Dramatic Performing Arts
The Department of Traditional Korean Dramatic
Performing Arts is divided into the sub-majors of
pungmul, mask dance, shamanistic dance, and
performances by professional performing groups.
The first examination requires students to play the
traditional tunes used in pungmul, mask dance and
shamanistic dance with janggo or kkwaenggwari
regardless of major, and present performances
relevant to the particular sub-major. The second
examination assesses the students’ musical
qualification in beating out the rhythm of sanjo music,
and tests students on their ability to sing a traditional
song of their choice. Students are also evaluated on
their ability to improvise and be creative by performing
a piece they created, which determines whether
the students have the basic competencies required
by Korean traditional music. Moreover, like the
Departments of Korean Traditional Music and Korean
Traditional Dance, students take a written test in which
they organize their thoughts in writing, and an oral test
in which they express themselves in speaking.
Korean Traditional Music Composition
The entrance examination of the Department of
Korean Traditional Music Composition can itself be
regarded as a preparation for a unique curriculum. The
practical test of each major is held twice. The first test
includes an assessment of music dictation, which
is the key element of composition, writing a solo for
Korean traditional instruments according to a given
motif, and both a piano and traditional instrument
performance. High school records are also included,
though it takes up only a small percentage of the
overall admissions decision. The second examination
requires students to compose a song according to
the given lyrics and interpret chords (one question
in soprano and one in bass). Students must also
take a written test about a given topic or subject, as
well as an oral test. In aiming for in-depth and broad
educational pathways to pave the way for traditional
arts in the future, the Department of Korean Traditional
Music Composition selects students through a
rigorous and focused admissions procedure.
125
Major
Facilities
Media Room, Recording Room
The Media Room in the School of Korean Traditional
Arts is equipped with tools for digitizing Korean
traditional music. The room, mainly used for the
classes and studies of Composition majors, is
furnished with equipment for electronic music
production, with equipment for sampling and
digitizing traditional music and editing the creative
works composed by students. The media works
of traditional music will play a significant role in
developing traditional music in ways that address
the challenges of contemporary discourse. The
existence of the Media Room in the School of Korean
Traditional Arts is a clear sign that K-Arts is preparing
for the future one step ahead of other colleges.
The Recording Room is for the School’s own
recording production. Other recording rooms
required for production are typically private spaces
that demand high rental fees for use. However, the
School of Korean Traditional Arts provides its own
recording room with efficient equipment for students
to conduct artistic activities. It is optimized to record
all kinds of music, including creative music as well as
traditional music, which is something K-Arts is proud
of, as it is not offered by other colleges.
Audio/Video Room
The room holds a large number of albums and visual
materials related to the traditional arts and a system
to utilize them in classes. It has multiple TVs, VTRs
and audio equipment for students to enjoy. There are
also facilities to edit or copy the music used in dance
or dramatic performances. The room is equipped
with materials required for classes (laptops, audio
sets, beam projectors) to support classes, as well
as School events and performances. Moreover, it
Wind and String Room
126
helps students engage with the education process
by recording and digitizing student events and
performances. In addition, the School provides
sources of rare sounds recorded after the Japanese
colonial rule, which serve as another significant
archive to study and systemize traditional arts.
Wind and String Room
The room is used for big classes of the School
of Korean Traditional Arts, particularly wind and
string ensemble classes. It has soundproofing
and sound absorption functions to prevent sounds
from entering, and it is open to students after
class so that they practice as a group. There are
expensive pyeongyeong and pyeonjong (traditional
instruments used in the royal court) for massive
ensembles, as well as two grand pianos for
ensembles to use.
Musical Instrument Room
This room stores high-priced instruments purchased
by the School for traditional music performances.
Most traditional Korean instruments are stored here
and actively used in class. Students who cannot
afford to purchase such instruments are welcome to
rent them for free for a set period of time, allowing
students of all backgrounds to engage with artistic
activities. Moreover, the room holds instruments
that are frequently used in ensembles, such as
orchestral music, but are unaffordable to individuals.
Such instruments are used actively in recitals and
performances at the School.
Musical Instrument Room
K – A rts
I nformation
A cademic P rograms
A dmissions G uide
S cholarship
A ffiliated F acilities
A ffiliated I nstitutions
I nternational E x change
E x change S tudent P rogram
A M A · A mfek P roject
A cademic C alendar
O rganization C hart
V isitor ’ s I nfo
A cademic P rograms
Undergraduate program
Academic curriculum tailored to deliver an arts
education both theoretical and practice-based — The
six schools are as follows: the School of Music, School
of Drama, School of Film, TV & Multimedia, School
of Dance, School of Visual Arts, and School of Korean
Traditional Arts. A bachelor’s degree is awarded to
those who complete the required courses and pass
the examinations stipulated by the regulations.
Graduate Program
A graduate course curriculum designed to foster
highly specialized artists — This program is a more
intense course than the undergraduate degree.
Those who complete the required courses and pass
the examinations stipulated by the regulations are
awarded a master’s certificate by the President
of K-Arts, which certifies a degree equivalent to a
master’s degree in entering higher-level programs,
as deemed by Article 12 of the Decree for the
Establishment of Korean National University of Arts
(Presidential Decree No.15898).
Special Program for the Gifted in Arts
Early discovery of students gifted in the arts to
provide systematic education for high-potential
students — The Special Program for the Gifted in Arts
is a unique system run by K-Arts to discover those
who are gifted in the arts to foster outstanding artists
through systematic education aimed at high-potential
students. Those gifted in the arts are awarded a
qualification to apply for special admission to the
undergraduate program, without having to graduate
from high school, as deemed by Article 10, Clause 1 of
the Decree for the Establishment of Korean National
University of Arts.
Qualification
Those aged 17 or below who are attending their senior
year in or have graduated from middle school, or are
attending high school (first or second year)
A dmissions G uide
has two practical examinations: vocal music or
instrument-based. The School of Dance holds the first
examination following a ballet class on the day of the
exam, and the second examination is held following
a classical repertoire presented by the school. The
School of Korean Traditional Arts holds three practical
examinations of songs as chosen by each applicant,
with different genres available, including court music,
sanjo and creative songs. There is also a sight-singing
test.
Admission
Type and
Qualifications
Field of Selection
• School of Music : Vocal Music, Instrumental Music
• School of Dance : Ballet
• School of Korean Traditional Arts : Music
(Instrumental Music, Vocal Music)
Training Program for Practice of Art
This program is a preparatory school for students
wishing to receive professional guidance related to
artistic practice. The program is provided after school,
during the weekend or during the holidays by K-Arts,
with participants eligible to receive a certificate. There
is a theatrical practice course currently offered for
high school students in the School of Drama.
Theatrical Practice Course
• Target : High school students in their first or
second year
• Course : Acting
• Period : Around 15 days during winter vacation
at the beginning of the year, with class-based
rehearsals as well as regular sessions
• No. of students : 40 students per term, 2 classes
Examination
Schedule
(Based on
Application
Date)
Graduate Program
Regular
Admission
High school graduates (or prospective
graduates), those who have passed the
high school qualification exam, and those
who are certified by the law to have an
academic background equivalent to, or
higher than, the above
University graduates (or prospective
graduates), those who have completed
a regular bachelor’s program and earned
a bachelor’s degree, and those who are
certified by law to have an academic
background equivalent to or higher than
the above
Special
Admission
Those selected as Gifted in Arts of the
year, those with excellent grades in high
school, those with a special artistic talent,
the winners of K-Arts National Dance
Competition, those with excellent official
English language test scores
School of Dance, Dance Theory (those
who have at least 3 years of experience
in dance theory or education), Arts
Management (those who have at least 3
years of experience in planning, marketing
and finances related to arts management)
Admission
of Korean
Nationals
Abroad and
Foreigners
Foreigners or graduates of schools overseas
(partly or all) who meet the eligibility criteria
<Must be high school graduates (or
prospective graduates) or those who have
an academic background equivalent to or
higher than the above according to Article
98 of the Enforcement Decree of the
Elementary and Secondary Education Act>
Those who have completed all the
curricula equivalent to Korean elementary,
secondary and university education
abroad and have earned or are expected
to earn a bachelor’s degree in a standard
university abroad, or those who are or
whose parents are all foreigners and
have earned or are expected to earn a
bachelor’s degree in a standard university
in Korea or abroad
Regular
Admission
JulSchool of Drama (Stage Design), School
of Film, TV & Multimedia (Animation)
AugSchool of Music, School of Dance,
School of Korean Traditional Arts, School
of Drama (Acting/Theatre Management
in Theatre Studies)
OctSchool of Drama (Directing, Playwriting,
Theatre Studies), School of Film, TV
& Multimedia (excluding Animation),
AugSchool of Music, School of Dance
(Dance Performance/Choreography),
OctSchool of Drama, School of Film, TV &
Multimedia, School of Dance (Dance
Theory/Art Management), School
of Visual Arts, Cooperative Program
(Cooperative Program for Creation of
Musical Play)
Special
Admission
JulSchool of Music, School of Drama
(Playwriting), School of Film, TV &
Multimedia (Filmmaking/Broadcasting),
School of Dance (Dance Performance),
School of Visual Arts (Architecture)
AugSchool of Dance (Dance Theory, Art
Management)
Selection Procedure
Only those who pass the first-round preliminary
screening are eligible to be evaluated in the open
second-round main screening. The School of Music
128
K-Arts Information
129
S cholarship
No. of
Students to
be Admitted
130
Graduate Program
School of
Music
Total 133
Total 104
Vocal Music 25, Instrumental Music 87,
Composition 8, Conducting 8, Musicology 5
Vocal Music, Instrumental Music, Composition,
Musical Technology, Conducting, Musicology
School of
Drama
Total 85
Total 43
Acting 37, Directing 8, Playwriting 12, Stage
Design 18, Theatre Studies 10
Acting, Directing, Playwriting, Stage Design,
Theatre Studies
School of
Film, TV &
Multimedia
Total 105
Total 65
Filmmaking 45, Broadcasting 20, Multimedia 15,
Animation 15, Cinema Studies 10
Filmmaking, Broadcasting, Multimedia,
Animation, Cinema Studies
School of
Dance
Total 60
Total 50
Dance Performance 40, Choreography 10,
Theory 10
Dance Performance, Choreography, Dance
Theory, Art Management
School of
Music
Total 90
Total 70
Fine Arts 40, Design 20, Architecture 20,
Art Theory 10
Fine Arts, Design, Architecture, Art Theory
School of
Total 85
Total 38
Arts Theory 10, Music 39, Music Composition 7,
Dance 14, Dramatic Performing Arts 15
Arts Theory, Music, Music Composition,
Dance, Dramatic Performing Arts
Cooperative
Program
-
Total 8
* Supernumerary
Selection
•Korean Nationals Abroad and Foreigners :
Cooperative Program for Creation of
Musical Play
Within 2% of the total entrance quota in
supernumerary selection (11 students)
•Equal Opportunity in Education (recipients
of basic livelihood security benefits, etc.)
: Within 4% of total entrance quota (22
students)
•Students with Special Needs (students
with severe disabilities, etc.) : Within 2%
of total entrance quota in supernumerary
selection (11 students)
Korean nationals abroad and foreigners
are selected with no limitations on the
entrance quota.
K-Arts provides a wide range of scholarship programs
depending on its student’s background, situation or
funding requirements. The main sources of financial
support are the university scholarships, private
funding and scholarships and prodigy bursaries.
•
•
First, there is a scholarship available for students who
demonstrate outstanding academic achievement.
•
Second, there is a scholarship available for students
who have difficulty in paying for their own tuition
due to financial hardship. For the second type of
scholarship there are two funding resources. K-Arts
is sponsored by many diverse private enterprises and
foundations that seek to foster artists of the future.
Third, K-Arts provides a scholarship for artistic
prodigies.
•
•
•
For foreign students, K-Arts runs the AMA (Art Major
Asian Scholarship) Project, which is a full scholarship
for students from developed countries in Asian who
are enrolled on an art major. For further details on
AMA, please refer the international exchange section
on page 138.
The university scholarships are as follows:
• Excellent Admission Test Score Scholarship :
Freshmen with the highest admission test scores
• Good Admission Test Score Scholarship : Freshmen
with good admission test scores
•
Academic Performance Scholarship : Students who
received high GPA scores
School Development Contribution Scholarship :
Students who contribute to the development of
K-Arts, such as through being members of the
student council, school newspaper, or executives
of club associations
Academic Encouragement Scholarship : Students
with financial difficulties (low-income or nearpoverty groups), such as recipients of basic
livelihood security benefits
Family Scholarship : Students who have two or
more siblings or a spouse enrolled at K-Arts
Community Service Scholarship : Students who
have carried out community service
Work & Study Scholarship : Students with financial
difficulties, such as recipients of basic livelihood
security benefits or low-income groups, enrolled on
the undergraduate program. Also, an On-Campus
Work-Study Scholarship for students who wish
to earn their tuition or living expenses by working
on campus as students of the undergraduate or
graduate program
Teaching Assistant (TA) Scholarship : Students
working as a TA.
A ffiliated F acilities
K-Arts Library (http://lib.kart.ac.kr)
Venues for Performances, Exhibitions, and Films
The K-Arts Library was established as a reference
room for the School of Music along with the foundation
of K-Arts in 1993. It was expanded and reopened later
as the K-Arts Library (5 stories above ground and 1
below) after a sustained expansion of materials and
facility renovation in February 2007 in the Seokgwandong Campus. The K-Arts Library seeks to provide
the most stable and effective services possible to
enable students to access various art materials and
digital information as required. It is developing as a
specialized art library that acts as the hub of culture
and arts on campus.
K-Arts has 11 venues available for performances and
exhibitions. The five venues for performances are
the K-Arts Theater A, K-Arts Theater B, KNUA Hall,
box stage and experimental stage, along with two
exhibition halls, one movie theater and three projection
rooms. These facilities are open year-round for the
members of K-Arts to enjoy as spaces in which to
conduct countless creative experiments, allowing the
students to feel at home. The venues are also rented
by other institutions off-campus for their own events
when no school events are scheduled to take place.
K-Arts Information
131
A ffiliated I nstitutions
K-Arts Theater A
Located in the Seokgwan-dong Campus, the K-Arts
Theater A was opened with the establishment of the
new campus in 2007. The theater, which features a
proscenium-style stage and state-of-the-art stage
equipment, is optimized for all kinds of performances,
such as drama, dance, music and traditional as well
as experimental genres. These facilities and its
architecture were made possible because professors
and students actively engaged in the stage design
participated in the entire process, starting with the
design with a mission to make this theater their
own dream venue. With the capacity of 526 seats,
the theater has a movable soundboard, an orchestra
pit, four dressing rooms, and rooms for musical
instruments and costumes.
K-Arts Theater B
Located in the Seokgwan-dong Campus, the K-Arts
Theater B is designed to be an exclusive venue for
musical performances. The 314-seat venue featuring
Korean-style interior design has an orchestra pit and
four dressing rooms.
KNUA Hall
Located in the Seocho-dong Campus, the KNUA hall
has a pipe organ and provides the perfect acoustics
in musical performances. The 368-seat hall features a
proscenium-style stage, with two dressing rooms and
a control room.
Movie Theater and Projection Rooms
The movie theater, which is on the 5th floor of K-Arts
Library in the Seokgwan-dong Campus, has the latest
sound equipment (7.1 Channel) installed to bring to life
the action on the big screen, with a total 257 seats,
including 5 seats for the disabled. The projection
rooms (large-, medium-, and small-sized) are located in
the building of the School of the Film, TV & Multimedia.
Gallery
This spacious 410.57 m² gallery located in the
Seokgwan-dong Campus has high ceilings and wide
exhibition space, making it easy to move and install
artworks. The gallery is used not only for art exhibitions,
but also for experimental performances or filmscreenings. It has an information booth and an atelier.
132
Dormitory
Cheonjangwan
As a dormitory for students, Cheonjangwan provides
essential housing conveniences for students who
come from other districts. As such, the dormitory
helps cultivate harmony, unity and teamwork, which
are the fundamentals of social life, thereby creating
an environment for students to polish up their artistic
personalities and academic skills. Each room has its
own en-suite bathroom and toilet, along with wired
and wireless LAN. The dormitory provides a variety
of convenient facilities, such as a computer room,
fitness center, laundry room, cafeteria and reading
room. It is a single building that is 4 stories above
ground and 1 below, with a total floor area of 7,062 m²
accommodating total 309 people (93 males, 216
females) and 6 visiting professors in triple occupancy
rooms.
Shingilgwan
As an urban-housing dormitory for students in
the Seocho-dong Campus, Shingilhwan provides
essential housing conveniences for students who
come from other districts or countries. As such, it
cultivates harmony, unity and teamwork, which are
the fundamentals of social life, thereby creating an
environment for students to polish up their artistic
personalities and academic skills. The dormitory has
accepted students since it opened in August 2013.
Each room offers a variety of amenities, including
a kitchen (sink), electric cooker, refrigerator, air
conditioner, washer, shoe-shelf, closet and water
purifier. With the exclusive use space area of 20.43 m²,
it can accommodate total 40 people (16 males and 24
females) in double occupancy rooms.
Korea National Institute for the Gifted
in Arts (KNIGA)
Korea National Research Institute
for the Gifted in Arts (KRIGA)
The 21st Century is defined by communication of
culture with art. To grasp the demands of the time
requires supreme artistic talents imbued with
sensitivity and creativity. Aware of the legitimacy of
the early discovery and establishment of a training
system for the gifted in arts, the government founded
the Korea National Institute for the Gifted in Arts
(KNIGA) in August 2008. As an affiliated institution
of K-Arts under the Ministry of Culture, Sports and
Tourism, it is the first national training institute for the
gifted in arts managed entirely by a national subsidy.
Applications are open to all children and adolescents in
elementary or secondary education nationwide, with
outstanding artistic talents and excellent potential.
Since 2012, the KNIGA has actively increased the
opportunities for underprivileged people in culture and
art education to access education for the gifted in arts
by implementing the social care screening system.
The Korea National Research Institute for the Gifted in
Arts (KRIGA) was opened on July 4, 2005 based on the
perception of the need to educate future resources
with outstanding artistic talents, in accordance
with the gifted and talented education policy of the
government. It was established to stabilize the new
gifted education system for the systematic and indepth development of creative talents necessary to
secure national competitiveness in the 21st Century.
In addition, it was also intended to provide integrated
support and act as a hub for the early discovery and
cultivation of the gifted and talented. The KRIGA aims
to provide the foundation for a coordinated policy
approach and the implementation of the gifted and
talented education in Korea through core theoretical
research and policy research on education for the
gifted in arts. It undertakes R&D for the differentiation
of the gifted in arts, as well as carrying out research
into ways to educate the gifted in arts, R&D into
systems to support for the gifted in arts, and R&D
into programs designed to train instructors. The
organization currently consists of a director, laboratory
chiefs and senior researchers and general researchers
in music, art, traditional arts and education, along with
a steering committee.
Moreover, the KNIGA provides education in the
three fields of music, dance and Korean traditional
arts based on the best facilities of K-Arts as well
as a world-class faculty who plays an active part in
global discourse. The departments on offer include
instrumental music, vocal music and composition for
music, ballet for dance, and instrumental music, vocal
music, traditional dance and dramatic performing
arts for Korean traditional arts. Each field provides
high-quality education in which students can enjoy
various experiences, such as regular concerts every
semester, master classes and special lectures by
global celebrities, and visiting performances with
access to individual practice-based and theoretical
courses. Moreover, with the focus on convergence
education, a joint performance of the three fields will
reinvent various artistic fields in a single venue by
crossing the borders of different cultural genres. With
the passing years, there are more awards received
by international students of the KNIGA, as well as
splendid achievements in performance. To this end,
the KNIGA will grow into an outstanding training
institute that discovers and fosters next-generation
artists that will bring honor to Korea. Furthermore,
it contributes to society through fostering talent
with the opportunity for self-realization. The School
trains outstanding talents in culture and the arts by
discovering and fostering creative human resources.
Korea National Research Center for Arts
The Korea National Research Center for Arts
was established in 1993 specifically to establish
and strengthen the identity of the Korean arts
through theoretical studies, build a coordinated
arts infrastructure based on research, collection,
and the preservation of artistic materials, and fulfill
the ideology of founding K-Arts by interacting with
the global academic circles at the center of the
Korean and East Asian network. Its activities focus
on diagnosing new artistic paradigms for the 21st
Century and studying theories and policies related
to the implementation of multidisciplinary arts
education. To this end, the Center publishes a series of
books on art studies, hosts international conferences
and symposiums, conducts academic activities for
multidisciplinary art studies, and publishes various
research papers to establish policies in art education
of K-Arts. The Center seeks to become a core
research institute that contributes to the development
K-Arts Information
133
I nternational E x change
of the arts in Korea through theoretical and systematic
studies into artistic creation, education and policy. The
core strength of the Center is that it has produced
most of its outputs by securing independent research
capabilities with exclusive full-time researchers.
What’s more, artistic scholars with different majors
conduct multidisciplinary studies into the arts. The
Center plays the role of an education policy planner
by incorporating the outputs of its art studies into the
education policies and programs of K-Arts.
Center for Performance and Exhibition
The Center for Performance and Exhibition supports
the production, practice and demonstration of
contents in K-Arts, and manages and operates all
performance and exhibition facilities on campus.
It was established in 2007 to provide a one-stop
solution for experimentation, production, practice
and demonstration of performances and exhibitions.
The contents created by K-Arts are significant bases
for the creation of culture and the arts in Korea. In
effect, then, the Center acts as a factory that not only
enhances the artistic competences of students, but
also produces creative contents in Korea.
The Center undertakes various projects to promote
and support creative activities and raise the creative
impulse for enrolled students. A typical project is
the K’Arts Platform project that provides support
for students so that the outputs of their artistic and
creative activities do not remain on campus, but
find an audience. The K’Arts Platform is carried out
through a public contest within the school, divided
into the categories of creation, re-creation, tour,
permanent exhibition and special exhibition. Forms of
demonstration include festivals, art markets, visiting
cultural events and standing concerts. By providing
the opportunity for students to receive support
for their artistic competences and for the public to
experience the contents of K-Arts, the University is
committed to creating art that can return to society
and be enjoyed by the public as a national school.
Culture and Art Education Center
Art has undergone significant changes in modern
times – changes that continue to unfold. The
dichotomy of the artist and recipient is fading, while
the performance of the arts is developing into a
134
concept that embraces the process in which the
two meet. Art education plays a critical role in this
process. The Culture and Art Education Center was
established in March 2007. The Center has separated
and operated the Culture & Arts Program for CEO
(CAP), which was previously commissioned to K-Arts
Foundation since 2003. An education team was
established in 2012, restructuring and expanding
the department in charge of external art education.
The CAP is a curriculum for CEOs in various fields
to experience and enjoy all the artistic genres of the
6 Schools and learn about emotional management
through art. The new education team is in charge
of the culture and art course in public institutions
such as the National Assembly and Central Officials
Training Institute, community-based culture and art
classes, and the ‘Visiting Art Service’ program for the
underprivileged. The Center strives to develop K-Arts’
unique model of art education and contribute to the
social debut of graduates while meeting the diverse
cultural demands of contemporary society.
Status of partner institutions (104 institutions in 36 countries)
K-Arts has signed partnership agreements with 104 institutions in 36 countries including 44 in 17 countries of Asia,
38 in 13 countries of Europe, 20 in 5 countries of America, and 2 in 1 country of Oceania.
38
Eur o p e
The outstanding artists of K-Arts that win worldwide
recognition do not remain within the territory of oncampus activities, but participate in various projects
through which they transform the artistic values they
created into substantial social values. The Media
Contents Center will fulfill its role as the hub of
creative activities that open up a new discourse.
N or t h A m e r i c a
A s ia
Media Contents Center
K-Arts Media Contents Center, Where Freshness
Bloom with the Power of Thought — Established
as an affiliate of K-Arts in 2012, the Media Contents
Center produces high-level media contents on
campus or art pieces such as music, drama, film, TV,
multimedia, dance, visual arts and Korean traditional
arts. Its mission is to bring art to a greater variety of
people. Moreover, it supports new creative activities
in which artists of various fields come together in
convergence beyond the barriers that had existed
between artistic fields.
15
44
2
5
O c e a nia
L a t in A m e r i c a
Asia
Taiwan
Taipei National University of Arts
Shih Hsin University
Kun Shan University
Malaysia
Malaysian Institute of Arts
Myanmar
Yangon University of Culture
Singapore
Nanyang Academy of Fine Arts
Uzbekistan The State Conservatory of Uzbekistan
National Institute of Fine Art and Design
State Institute of Arts and Culture
Mongolia
Mongolian State University of Arts and
Culture
Mongolian State College of Music and Dance
Japan
Tokyo University of the Arts
Kyoto University of Art and Design
Tohoku University of Art and Design
Ochanomizu University
Japan Institute of the Moving Image
Kyoto City University of Arts
Cambodia The Royal University of Fine Arts
Vietnam
Hanoi Academy of Theatre and Cinema
India
Centre for the Study of Culture & Society
Jadavpur University
Jawaharal Nehru University
University of Delhi
Indonesia Institut Seni Indonesi Yogyakarta
China
Tsinghua University
The Yanbian University
Beijing Film Academy
Communication University of China
Jilin College of the Arts
Renmin University of China
Shanghai Theatre Academy
China Conservatory
Beijing Dance Academy
Shanghai Conservatory of Music
Thailand
Silpakorn University
Thammasat University
K-Arts Information
135
E x change S tudent P rogram
Kazakhstan
The Kazakh National Academy of Arts
Korea Theater in Kazakhstan
UK
University of Exeter
Middlesex University
University of the Arts London
Royal College of Music
Nepal
Lalit Kala National University of Arts
Sirjana College of Fine Arts
Turkey
Hacettepe University
Bilkent University
Mimar Sinan Fine Arts University
Italy
Conservatorio di Santa Cecilia
Austria
University of Arts and Design Linz
University of Music and Performing Arts, Vienna
Azerbaijan Azerbaijan State Academy of Fine Arts
Czech
Republic
Academy of Performing Arts in Prague(AMU)
Academy of Fine Arts in Prague
Europe
Poland
The Polsih National Film, Television and
Theatre School
Academy of Fine Arts in Warsaw
Netherlands
Willem de Kooning Academy
The Patchingzone
HKU, University of the Arts Utrecht
Norway
Bergen National Academy of the Arts
Oslo National Academy of the Arts
Östfold University College
Germany
Russia
St. Petersburg State Theatre Arts Academy
The Boris Shchukin Theatre Institute
St. Petersburg State University of Culture
and Arts
St. Petersburg State Rimsky-Korsakov
Conservatory
The Moscow State Tchaikovsky Conservatory
University of Belgrade
University of Arts in Belgrade
Sweden
Malmö Art Academy
Switzerland
Geneva University of Art and Design
Lucerne University of Applied Sciences
and Arts
136
USA
The Ernst Busch University
University of the Arts, Bremen
Hannover University for Music and Drama
HMTMH, Institute for the Advancement of
Young Musicians
Academy of Media Arts Cologne
Film and Television University “Konrad Wolf”
Braunschweig University of Arts
Serbia
France
North America
Conservatoire de Paris
École Nationale Supérieure d’art Dijon
École Nationale Supérieure des Beaux-Arts
École Spéciale d’Architecuture
École Supérieure des Beaux-Arts de Nantes
Métropole
Carnegie Mellon University
CMU, Entertainment Technology Center
University of Florida
University of Hawaii at Manoa
California State University, Northridge
Maryland Institute College of Art
Yale University
Miami University
The University of Arts
Pratt Institute
State University New york Purchase College
California Institute of the Arts
San Francisco Art Institute
Massachusetts College of Art and Design
Columbia College Chicago
Virginia Commonwealth University
Latin America
Argentina Instituto Universitario Nacional del Arte
Universidad del wine
Brazil
University of Sao Paulo
Chile
University of Chile
Costa Rica Universidad Vertas
Oceania
Australia
University of Wollongong
The University of Sydney – Sydney
Conservatorium of Music
K-Arts has been carrying out this program with
schools overseas which signed exchange agreements.
It targets undergraduate and graduate students.
Exchange students of sister schools take classes
here as K-Arts students, earn credits required
for graduation, and have global perspectives by
experiencing other culture. Experience as exchange
students in K-Arts serves as an opportunity to
challenge themselves, encourage their creative
activities, and broaden their scope in a different
cultural environment. Those who are selected as
exchange students pay tuition fee in their respective
schools and take classes in K-Arts. The credits
earned and exchange semesters are recognized and
transferred to their home universities through some
procedures. However, students cannot pursue or
receive a degree in K-Arts as exchange student. The
number of exchange schools and students are set
every year through consultations between K-Arts and
sister schools in a balanced way.
Application Process
• Check out information on K-Arts exchange student
program guideline through the school website or
brochure.
• Contact international coordinators or professors of
your home universities
• Prepare required documents
• Submit the documents to home universities
• Home universities transfer the documents to K-Arts
• K-Arts reviews the Application
• K-Arts issues an official certificate of admission
and academic materials for the issuance of visa and
school enrollment
Required Documents
• Application form for exchange student
• Study plan (given format)
• Academic official transcript
• Certificate of enrollment
• Recommendation letter (2)
• 2 Passport size photographs
• Copy of passport
• Portfolio
• Medical clearance(results of general medical checkup including vaccination)
Foreign Language Proficiency
To study in K-Arts, students should be fluent in
English or Korean. Applicants in non-English speaking
countries should report English (or Korean) proficiency
test results to the School. As different majors require
different levels of language proficiency, students may
not be qualified for taking some courses depending
on their proficiency. They should contact External
Affairs Division of K-Arts to check this issue.
Required Foreign Language Test Certificates
for Applicants in Non-English Speaking Countries
• English
- TOEFL IBT 69(CBT 190, PBT 520) or higher, and
IELTS 5.3 or higher for practical majors
- TOEFL IBT 79(CBT 213, PBT 550) or higher, and
IELTS 6.0 higher for theoretical majors
* The tests must be taken within two years before
the desired date of admission.
* TOEFL LBT, CBT, PBT score conversion is based
on the standards recommended by ETS(ex. IBT
79=CBT 213)
• Korean
- TOPIK level 3 or higher for practical majors
- TOPIK level 4 or higher for theoretical majors
Credit
Maximum number of credits is 19 for undergraduate
and 12 for graduate. Exchange students register
courses after they contact school or department
offices on the issue. They should be full-time students
in K-Arts. A total number of credits can be adjusted
through consultations with their home universities.
Grades of the students are reported directly from
K-Arts to their schools.
*All the credit issues should be resolved before taking
courses as exchange students in K-Arts.
Visa
Exchange students should have D-2 visa issued with
the Certificate of Admission from K-Arts when they
arrive in Korea. Foreigners (of most countries) can stay
for 90 days in Korea without visa. However, Certificate
of Alien Registration is required for more than 90
days. D-2 visa is issued for the exchange students in
K-Arts. Those who with D-2 visa are not permitted to
work in Korea.
Contact — External Affairs Division
• Email : [email protected]
• Tel : 82-2-746-9076
• Fax : 82-2-746-9079
K-Arts Information
137
A M A P roject
A mfek P roject
A cademic C alendar
AMA (Art Major Asian Scholarship) Project
AMFEK (Art Major Faculty Explore K-Arts) Project
Spring Semester
The AMA Project is a global initiative undertaken by
Korea National University of Arts with the goal of
educating students for spreading Asian arts to the
world as a global educational leader by promoting
artistic elites development with the full scholarship
grants. This project is an artist human resource
development program, promoting development of
genuine artists and enhancement of art education of
developing countries in order to establish the center
of cultural artists and a foundation of international art
educational institution.
AMFEK is an artist-in-residence project that seeks
the vitalization and diversification of art education
and cultural arts exchange through research projects
and workshops for which professors and artists (arts
administrators) are invited from Asia, Latin America,
Eastern Europe and Africa for five months.
Selection Procedure and Method
• Qualification : Those recommended by the head
of government agencies, local universities, or
diplomatic offices of countries subject to the AMA
Project
• Application term : June~July
• Announcement of acceptance : October
• Period of admission into Korea : November
• No. of selected students : Around 20
• Support : Approximately 18 million KRW per year,
including university tution waive, round-trip airfare,
living expenses, Korean language training costs, etc.
• Selection method : Evaluated by the 6 Schools and
final selection made by the AMA Steering Committee
AMA Scholars per Country (as of Jan. 2015)
Bangladesh
5
Malaysia
23
China
33
Mongolia
31
Cambodia
10
Myanmar
6
Dominican Rep.
1
Nepal
6
India
3
Pakistan
2
Indonesia
15
Philippines
12
Kazakhstan
8
Sri Lanka
1
Kenya
1
Thailand
24
Kyrgyzstan
3
Tibet
Laos
1
Uzbekistan
Malawi
3
Vietnam
1
6
17
(212 Students from 22 Countries)
• Tel : 82-2-746-9073
• Fax : 82-2-746-9079
138
The program begins in June every year and the invited
research teams receive support from the Ministry of
Culture, Sports and Tourism, including grants to cover
research funding, living expenses and airfare. The
invited researchers participate in a variety of activities
in Korea, such as special lectures, joint projects,
exhibitions and performances.
March
2nd week
4th week
No. of No. of
Invited Countries
Countries
Participants
2006
8
7
Bangladesh, Cambodia,
Mongolia,Indonesia,
Thailand, Kazakhstan,
Vietnam
2007
9
9
Bangladesh, Cambodia,
China, Laos, Indonesia,
Tibet, Mongolia,
Kyrgyzstan, Philippines
2008
5
3
Mongolia, Myanmar, Nepal
2009
4
4
Chile, Madagascar,
Mongolia, Kazakhstan
Spring Semester Begins
Application Due for Change of Major or Second Major
Course Enrollment, Course Add/Drop Period
Deadline for Registration for those returning from a Leave Absence
April
2nd week
3rd week
Course Withdrawal Period
Applications Due for those taking Absence
Midterm Examination
May
1st week
3rd week
University Student Athletic Festival
Summer Session Enrollment
June
1st week
3rd week
4th week
Summer Session Registration
Final Examination
Summer Vacation & Summer Session Begin
July
3rd week
Summer Session Ends
August
2nd week
3rd week
4th week
ourse Pre-enrollment for Fall Semester
C
Course Registration for Fall Semester
Fall Semester Begins
1st week
2nd week
3rd week
4th week
ourse Enrollment, Course Add/Drop Period
C
Application Due for Change of Major or Second Major
Deadline for Registration for those returning from a Leave Absence
University Arts Festival
Course Withdrawal Period
October
2nd week
3rd week
pplications Due for those taking Leave of Absence
A
Midterm Examination
AMFEK Participants per Country (as of Dec. 2014)
Year
1st week
Fall Semester
September
2010
4
4
Argentina, Egypt, Latvia,
Kazakhstan
2011
4
3
China, Nigeria, Vietnam
November
2nd week
4th week
Winter Session Enrollment
Winter Session Registration
2012
5
5
Bahrain, China, Czech,
Turkey, Morocco
December
Final Examination
W inter Vacation & Winter Session Begin
2013
4
3
China, Indonesia,
Kazakhstan
3rd week
4th week
January
2014
4
2
Bangladesh, China
2nd week
3rd week
4th week
Application Due for Scholarship
Winter Session Ends
Freshman Registration Period
February
2nd week
4th week
Freshman Orientation
Course Registration for Spring Semester
Academic Year Ends *Graduation Ceremony
(47 Participants from 23 Countries)
• Tel : 82-2-746-9075
• Fax : 82-2-746-9079
K-Arts Information
139
O rganization C hart
V isitor ’ s I nfo
President
Seokgwan-dong Campus
• line6 Dolgoji Station
Education Units
Undergraduate
Graduate
•
School of Music
•
School of Music
•
School of Drama
•
School of Drama
•
School of Film, TV &
Multimedia
•
School of Dance
•
School of Dance
•
•
School of Korean
Traditional Arts
•
•
e
lin
6S
an
olg
gw
ok
S
146-37 Hwarang-ro 32-gil,
Seongbuk-gu, Seoul, 136-716,
Republic of Korea
on
2
Seokgwan Middle
School
•
3
School of Drama
6
School of Film, TV &
Multimedia
•
•
Training Program for
Practice of Art
i
t at
• S
tandard Chartered
Bank Korea Limited
1
School of Korean
Traditional Arts
1
Headquarters
2
School of Drama
3
4
5
School of Traditional Arts
6
Art Theater and the Faculty of
Liberal Arts and Liberal Studies
5
line1 Sinimun Station
Administrative Units
Office of Academic
& Student Affairs
•
Academic Affairs Division
Administrative Offices
of 6 Schools
•
Admissions Division
Office of Planning
Office of General
Administration
•
Planning Division
•
•
External Affairs Divisions
•
Arts Library &
Information Center
4
General Affairs Division
5
Facilities Maintenance
Division
Seocho-dong Campus
Student Affairs Division
Student Support Center
Student Counseling Office
Cheonjangwan (Shingilgwan)
•
line3 Nambu Bus
Terminal
Af filiated Units
Korea National Research Center for Arts
ja
Yang
e
2374 Nambusunhwan-ro,
Seocho-gu, Seoul, 137-070,
Republic of Korea
7
School of Music
8
School of Dance
Research Center for Women’s Activities
Korea National Research Institute for the Gifted in Arts
Culture and Art Education Center
Seoul Arts Center
Center for Performance and Exhibition
Korea National Institute for the Gifted in Arts
Sa
n
da
g
7
8
Media Contents Center
National Center for Korean
Traditional Performing Arts
Foundations
K-Arts Foundation
Industry-Academy Cooperation Foundation
140
K-Arts Information
141
Seokgwan-dong Campus. 146-37 Hwarang-ro 32-gil, Seongbuk-gu, Seoul, 136-716, Republic of Korea
Seocho-dong Campus. 2374 Nambusunhwan-ro, Seocho-gu, Seoul, 137-070, Republic of Korea
Tel. 82.2.746.9000 Fax 82.2.746.9444 Email. [email protected]
Web. www.karts.ac.kr Facebook. www.facebook.com/KartsPR
Copyright © Korea National University of Arts. All Rights Reserved.
Design by Hongdesign
143

- Korea National University of Arts

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Introduction to Belly Dance Workshop

Ryan O`Gara Nigel Plaskitt

ODC Contact flyer KEpifano Dec 2013