Mecenat in South Korea has made a lot of progress in a short history of nearly 20 years, but it is true that South Korean mecenat activities still have room for improvement in many aspects compared with their counterparts in the United States, Europe and other culturally advanced nations. On the sur...
Mecenat in South Korea has made a lot of progress in a short history of nearly 20 years, but it is true that South Korean mecenat activities still have room for improvement in many aspects compared with their counterparts in the United States, Europe and other culturally advanced nations. On the surface, mecenat has been practiced under the goals of corporate social responsibility and cultural and artistic development, but it will be an unfeasible premise that non-profit art organizations merely wait for supports from or expect a partnership with corporations that are thoroughly profit-seeking without any preparations in an indolent spirit.
In South Korea, there are not many art organizations that allow professional artists to perform on a stable salary basis. Most performance and art organizations lack systemization and specialization except for professional art organizations. Since performance artists themselves have a low recognition level for corporate supports through mecenat, art organizations lose their valid persuasive power to receive supports and their vision reliability in spite of the presence of young art organizations with potential possibilities. As a result, there is a cultural vicious cycle of such performance and art organizations continuing their creative activities in poor environments and making no more progress. It is thus urgent to establish systematic infrastructure based on corporation mecenat and ensure mecenat in active and broad support forms and in various ways.
The purposes of this study were to identify problems with corporation mecenat by analyzing their current state for positive and developed partnerships between corporations and dance performance and art organizations and to explore the image utilization values and development possibilities of dance performance and art organizations in more effective ways for directionality for approaching mutually beneficial and qualitative partner relationships, thus finding plans to activate partnership between corporations and dance performance and art organizations.
There should be in-depth researches on corporation mecenat so that partnership between dance performance and art organizations and corporations can be vitalized by growing out of the old mecenat practice restricted to dance, benchmarking the mecenat in others fields, and implementing differentiated ideas. It is first required to identify the practical problems with dance performance and art organizations and the corporate support projects not perceive by those organizations and to come up with partnership activation plans between dance performance and art organizations and corporations in order to vitalize corporation mecenat by addressing many different problems confirmed in the current state of mecenat activities in the nation and ensure the recognition and development of long-lasting partnership relationships beyond event-based short-term supports.
The present study examined the concept, history, activation backgrounds, cases, and support methods of mecenat through many previous studies, literature, and the Internet search. Based on the problems identified by looking into the current mecenat activities in the study, the present study on partnership activation between dance performance and art organizations and corporations via corporation mecenat made the following proposals in the aspects of corporations and dance performance and art organizations to resolve the problems and encourage active supports:
First, it is needed to develop diverse cultural products to represent an organization as a way to meet the growing need for cultural nostalgia.
Second, dance performance and art organizations should conduct research on corporations themselves and search for ways to approach corporate images strategically in order to resolve the unequal distribution of corporate supports.
Third, while corporations need to find various support methods beyond the old direct financial support, dance performance and art organizations need to set differentiated cultural marketing strategies to make use of the support method through the in-house corporate(event) plans to support art.
Fourth, it is urgent for dance performance and art organizations to build their operational infrastructure and information-sharing network with corporations in order to supplement the information shortage issue regarding corporate supports.
Corporations and dance performance and art organizations should seek after producing positive results based on mutual benefits, through which corporation mecenat based on developmental partnership between them will be activated. Those developments will help dance performance art do creative activities in a more economically stable environment and pursue additional growth based on them and further generate the effects of qualitative growth across the fields of culture and art.
Mecenat in South Korea has made a lot of progress in a short history of nearly 20 years, but it is true that South Korean mecenat activities still have room for improvement in many aspects compared with their counterparts in the United States, Europe and other culturally advanced nations. On the surface, mecenat has been practiced under the goals of corporate social responsibility and cultural and artistic development, but it will be an unfeasible premise that non-profit art organizations merely wait for supports from or expect a partnership with corporations that are thoroughly profit-seeking without any preparations in an indolent spirit.
In South Korea, there are not many art organizations that allow professional artists to perform on a stable salary basis. Most performance and art organizations lack systemization and specialization except for professional art organizations. Since performance artists themselves have a low recognition level for corporate supports through mecenat, art organizations lose their valid persuasive power to receive supports and their vision reliability in spite of the presence of young art organizations with potential possibilities. As a result, there is a cultural vicious cycle of such performance and art organizations continuing their creative activities in poor environments and making no more progress. It is thus urgent to establish systematic infrastructure based on corporation mecenat and ensure mecenat in active and broad support forms and in various ways.
The purposes of this study were to identify problems with corporation mecenat by analyzing their current state for positive and developed partnerships between corporations and dance performance and art organizations and to explore the image utilization values and development possibilities of dance performance and art organizations in more effective ways for directionality for approaching mutually beneficial and qualitative partner relationships, thus finding plans to activate partnership between corporations and dance performance and art organizations.
There should be in-depth researches on corporation mecenat so that partnership between dance performance and art organizations and corporations can be vitalized by growing out of the old mecenat practice restricted to dance, benchmarking the mecenat in others fields, and implementing differentiated ideas. It is first required to identify the practical problems with dance performance and art organizations and the corporate support projects not perceive by those organizations and to come up with partnership activation plans between dance performance and art organizations and corporations in order to vitalize corporation mecenat by addressing many different problems confirmed in the current state of mecenat activities in the nation and ensure the recognition and development of long-lasting partnership relationships beyond event-based short-term supports.
The present study examined the concept, history, activation backgrounds, cases, and support methods of mecenat through many previous studies, literature, and the Internet search. Based on the problems identified by looking into the current mecenat activities in the study, the present study on partnership activation between dance performance and art organizations and corporations via corporation mecenat made the following proposals in the aspects of corporations and dance performance and art organizations to resolve the problems and encourage active supports:
First, it is needed to develop diverse cultural products to represent an organization as a way to meet the growing need for cultural nostalgia.
Second, dance performance and art organizations should conduct research on corporations themselves and search for ways to approach corporate images strategically in order to resolve the unequal distribution of corporate supports.
Third, while corporations need to find various support methods beyond the old direct financial support, dance performance and art organizations need to set differentiated cultural marketing strategies to make use of the support method through the in-house corporate(event) plans to support art.
Fourth, it is urgent for dance performance and art organizations to build their operational infrastructure and information-sharing network with corporations in order to supplement the information shortage issue regarding corporate supports.
Corporations and dance performance and art organizations should seek after producing positive results based on mutual benefits, through which corporation mecenat based on developmental partnership between them will be activated. Those developments will help dance performance art do creative activities in a more economically stable environment and pursue additional growth based on them and further generate the effects of qualitative growth across the fields of culture and art.
주제어
#메세나 파트너쉽 무용공연예술단체
※ AI-Helper는 부적절한 답변을 할 수 있습니다.