안지언 An Ji-un , 공지영 Kong Ji-young , 이성민 Lee Sung-min

DOI:10.47415/IRAC.7.3.1 Vol.7(No.3) 5-19, 2026

This study evaluates the policy impact of the Rural Neighborhood Arts School initiative (2022-present) on the realization of cultural rights for children in Korea's population-extinction risk areas, using UN Convention on the Rights of the Child (CRC) Article 31 as the core normative framework and Rights-Based Policy Impact Assessment (RBPIA) as the primary methodology. The analytical scope spans the policy evolution from the Arts Flower Seed School program (2007-2021) to the current initiative. Three methods were employed: (1) content analysis of relevant statutes and policy documents; (2) quantitative analysis combining 2023 National Survey of Cultural Activities (Ministry of Culture, Sports and Tourism) data with Korea Employment Information Service depopulation indicators to measure regional disparities in cultural access; and (3) RBPIA using five evaluation criteria―universality, non-discrimination, continuity, child agency, and adequacy―derived from CRC Committee General Comment No. 17 (2013). Findings show that while the policy paradigm has shifted from a welfare-oriented model toward a rights-based, local ecosystem restoration model, structural contradictions have deepened since fiscal decentralization in 2024: regions with the highest depopulation risk are most likely to lose arts education support, directly violating the universality and continuity requirements of CRC Article 31. This study describes the Nonsan- Gyeryong local resource-linked model as an illustrative case and derives four policy recommendations: (1) legal mandating of direct central government support, (2) establishment of local arts instructor pools, (3) incorporation of CRC Article 31 into policy design as a legal standard, (4) child-participatory program design, and (5) institutional supplement for after-school leisure rights gaps.

인구소멸, 농어촌 예술교육, 문화적권리, CRC, 아동권리협약, 제31조, 권리 기반 정책영향평가, RBPIA, Depopulation, Population Decline, Arts Education in Rural and Fishing Communities, Cultural Rights, United Nations Convention on the Rights of the Child, Article 31, CRC 31, rights-based policy impact assessment, RBPIA

김현수 Kim Hyun-su

DOI:10.47415/IRAC.7.3.2 Vol.7(No.3) 21-37, 2026

This study aims to compare changes in online discourse on arts and cultural management before and after the COVID-19 pandemic and to analyze differences in major keywords and semantic structures across the two periods. To this end, the periods of 2017-2019 and 2023- 2025 were selected for analysis, and online data related to “arts and cultural management” were collected using TEXTOM. After data cleaning, term frequency analysis, TF-IDF analysis, centrality analysis, and CONCOR analysis were conducted. The results are as follows. First, the frequency and TF-IDF analyses showed that, from 2017 to 2019, traditional areas of arts and cultural management were prominent, including academic majors and departments, university admission, project operation by foundations and institutions, policy and administration, and performance, exhibition, and marketing. In contrast, from 2023 to 2025, the importance of keywords related to the content industry, region and tourism, digital, media, and engineering technologies, global contexts, jobs, practical work, and field experience increased. Second, the CONCOR analysis for 2017-2019 identified four clusters: institutional operation and employment; academic majors, admission, and career paths; education, research, and professional fields; and early convergence based on media and design. Third, the analysis for 2023-2025 identified four clusters: the linkage of policy with regions and field practice; digital technology-based arts convergence; global content and convergence education; and experience-based job education and employment. These findings indicate that, after COVID-19, discourse on arts and cultural management expanded from a traditional structure centered on systems, institutions, and education to encompass technology, content, region and tourism, global industries, and practical job competencies. This study is significant in that it empirically demonstrates structural changes in arts and cultural management discourse over time and provides foundational data for curriculum reform, professional workforce development, and related policy formulation.

문화예술경영, 온라인 담론, 텍스트마이닝, 의미연결망 분석, 담론구조, Arts and Cultural Management, Online Discourse, Text Mining, Semantic Network Analysis, Discourse Structure

정용석 Choung Yong-suk

DOI:10.47415/IRAC.7.3.3 Vol.7(No.3) 39-55, 2026

This study examines how marketing mix strategies and consumer participation shape the branding of MU:DS, a museum merchandise brand operated by the National Museum Foundation of Korea. Using a qualitative single-case study, institutional materials, media reports, 69 public Instagram posts, and 17 supplementary sources were analyzed. The findings show that MU:DS combines the contemporary reinterpretation of cultural heritage, diverse price ranges, online and offline distribution, and corporate collaboration. Consumer participation took the form of purchasing, collecting, social media sharing, and gift-giving. Five themes were identified: aesthetic preference, cultural identity, the integrated reception of function and meaning, the sharing of cultural taste, and gift value. The study explains public-sector cultural product branding as a process linking symbolic translation, public accessibility, brand distinctiveness, and consumer participation.

뮷즈, MU, DS, 공공기관 문화상품, 마케팅 믹스, 문화유산 브랜딩, 소비자 참여, public-sector cultural products, marketing mix, cultural heritage branding, consumer participation

김지윤 Kim Ji-yoon

DOI:10.47415/IRAC.7.3.4 Vol.7(No.3) 57-78, 2026

This study explores how cultural tourism experiences shape the service perception and career attitudes of students majoring in aviation service. An integrative framework was constructed by placing intercultural competence, social cognitive career theory, and career construction theory at the corresponding phases of Kolb's experiential learning cycle. Semi-structured in-depth interviews were conducted with fifteen students from the first to fourth year in a department of aviation service, and the data were analyzed through thematic analysis. Three themes emerged. First, participants reconstructed their understanding of service through the experience of receiving service rather than through training to provide it, expanding what is termed service sensitivity. Second, empathy developed not from smooth intercultural contact but from encounters in which participants' existing frames of reference failed, a finding that specifies one condition under which contact produces attitudinal change. Third, cultural tourism experiences functioned less as a determinant of career direction than as an interpretive resource lending meaning to pre-existing career orientations, and their influence corresponded to the developmental sub-tasks of the exploration stage across grade levels. These findings extend the literature on cultural experience beyond competence outcomes to career development, and suggest that reflection, rather than exposure alone, is the mechanism through which cultural tourism becomes educationally consequential.

문화관광, 항공서비스, 서비스 인식, 진로 태도, 질적연구, Cultural Tourism, Aviation Service, Service Perception, Career Attitude, Qualitative Research

정현희 Jeong Hyun-hee , 김진희 Kim Jin-hee

DOI:10.47415/IRAC.7.3.5 Vol.7(No.3) 79-95, 2026

The purpose of this study is to explore the process of internal change among readers who share their reading experiences through social media. Data was collected through interview from one BookTuber and three Bookstagrammers active on YouTube and Instagram and analyzed using interpretive phenomenology. Their sharing of reading experiences is sustained as a circular practice model through a cyclical structure of performance, expansion, and reconstruction. The research results indicate the following: First, actors who share reading experiences perform reading experiences from a dual position of reader and producer, acting as mediating agents between texts and communities of taste through the process of knowledge internalization. Second, social media functions as a new arena of social capital that creates change by transcending private reading preferences into a process of expressing and sharing reading experiences; it also serves as a driving force for horizontal and friendly solidarity formed around tastes through mutual recognition. Viewing the cyclical process of producing and sharing reading experiences on social media as a "habitus," this study confirmed that these individuals are agents creating new reading cultural capital. The role of social media in reading experiences is being reproduced from information-transmitting content into a space that constitutes a culture of taste.

독서 공유, 북튜버, 북스타그래머, 문화자본, 해석 현상학, Reading Sharing, Booktuber, Bookstagrammer, Cultural Capital, Interpretive phenomenology

이원일 Lee Weon-il , 박용연 Park Yong-yeon

DOI:10.47415/IRAC.7.3.6 Vol.7(No.3) 97-113, 2026

This study examined how university students' self-monitoring performance, performance awareness and error detection, and self-regulated learning changed before and after applying generative AI feedback in a horse-riding class, and explored their perceptions of the feedback. A single-group pre-post design was applied to 37 students who completed both surveys. Over four sessions, students recorded their riding from side and front views, submitted the clips to generative AI using a structured prompt, and conducted self-monitoring based on the posture feedback received. All three subdomains improved significantly with medium to large effect sizes, and perceptions of the AI feedback were generally positive. However, no significant correlations emerged between AI acceptance and the degree of improvement, suggesting that the gains were related more to the actual practice of self-monitoring than to attitudes toward AI. These findings indicate that generative AI feedback may support performance observation and self-correction in horse-riding, a sport in which learners cannot directly observe their posture while mounted.

생성형 AI 피드백, 자기 점검, 자세 인식, 승마 교육, 자기 조절 학습, generative AI feedback, self-monitoring, posture awareness, horse-riding education, self-regulated learning

이은영 Lee Eun-young

DOI:10.47415/IRAC.7.3.7 Vol.7(No.3) 115-136, 2026

This study examines how the concept of connection is redefined in the 2022 Revised Korean National Art Curriculum and explores its educational implications. Although connection is significant in competency-based art education, it has often been treated narrowly. Drawing on relational, networked, mediational, and emergent perspectives in educational theory and art education, this literature-based study analyzes shifts from previous curricula. The findings indicate that connection is not explicitly identified as a content element; rather, it is repositioned as an overarching principle spanning aesthetic experience, expression, and appreciation. In aesthetic experience, connection involves relational and ecological communication with humans and nature; in expression, it entails formal relationships, interdisciplinary convergence, and emergent possibilities; and in appreciation, it concerns engagement with community cultures and values, alongside reflection on responsibility and ethics. These findings suggest that connection can serve as a practical framework for realizing the curriculum’s intentions, advancing arts-and-culture convergence education in a hyper connected era, and positioning art education as an organic platform for mediating everyday life. The study provides foundational support for ecological-transition education, interdisciplinary convergence education, and democratic citizenship education under the 2022 Revised Korean National Art Curriculum.

연결, 역량, 미술교육, 2022 개정 미술과 교육과정, 문화예술 융복합 교육, Connection, Competencies, Art Education, 2022 Revised Art Curriculum, Arts and Culture Convergence Education

남기현 Nam Ki-hyun

DOI:10.47415/IRAC.7.3.8 Vol.7(No.3) 137-152, 2026

This study examines how high school students reconfigured platform images and made design judgments through the creation of digital photo collages. Data were collected from 26 students through their digital photo collages, written reflections, and individual interviews. The data were analyzed through visual analysis, qualitative coding, and cross-participant comparison. The findings show that students selected and reconfigured images encountered or saved on platforms alongside personal images, using digital-analog visual conventions to articulate their tastes and construct visual atmospheres. Neujot was associated with an initial attraction to an image, gamdo with judgments involved in coordinating the composition, and chugumi with the process of referring to an aspirational aesthetic. Bamti appeared in judgments concerning the adjustment or intentional use of excess and mismatch, while gamdasal was associated with positive peer evaluation. These expressions were not fixed formal categories but situational and relational terms used during making and evaluation. Everyday aesthetic expressions could thus be understood as a resource for articulating design judgments, while also relating to criteria of taste and peer evaluation. In art education, students’ everyday aesthetic expressions may offer a starting point for examining design judgments and criteria of taste through both critical reflection and creative practice.

플랫폼 미감, 일상적 미감 표현, 디지털 포토콜라주, 디자인 판단, 미술교육, platform aesthetic sensibility, everyday aesthetic expressions, digital photo collage, design judgment, art education

천영준 Youngjoon Cheon

DOI:10.47415/IRAC.7.3.9 Vol.7(No.3) 153-175, 2026

This study aims to examine the artistic world of Suhwa(樹話) Kim Whanki (1913-1974), a pioneer of twentieth-century Korean modern art, through its correlation with the Neo-Confucian aesthetics and literati painting traditions of the Joseon Dynasty's scholar-officials (sadaebu). While pursuing the avant-garde formal experiments of Western modernism, Kim was simultaneously a "Korean cosmopolitan" who consistently sought the harmony of the Three Perfections―poetry, calligraphy, and painting (si·seo·hwa samjeol)―as well as the spirit of expressing the inner mind (saui, 寫意). Whereas previous studies have primarily approached his work through the lens of the development of abstract art or the appropriation of nationalistic motifs, this paper centers its textual analysis on Where and in What Form Shall We Meet Again, a compiled collection of Kim’s handwritten articles and prose essays. Through this analysis, the study aims to elucidate how the essence of the "Poetic Ethos" (sijeongsin) and "song" (ga) that he emphasized intersects with the Confucian art theories championed by literati scholars like Chusa Kim Jeong-hui and Kim Chang-hyup. Consequently, it seeks to propose an explanatory framework built upon the consistent perspective of "tradition and practice." In particular, by focusing on Kim’s role as a "participatory intellectual" who spoke out on social issues as both an artist and a writer, this research will demonstrate that his artistic endeavors represent a modern succession of the concepts of Munijaedo (文以載道)―which emphasizes literature as a vessel for conveying the Way (Dao)―and the theory of Mundo (文道).

김환기, 문이재도, 文以載道, 시정신, 詩精神, 문장파, 文章派, 유교적 예술론, 핵심어 5개

손연성 Son Yeon-sung

DOI:10.47415/IRAC.7.3.10 Vol.7(No.3) 177-205, 2026

Contemporary commercial music (CCM) singing takes place in amplified environments, yet the auditory conditions of performance settings remain largely absent from formal vocal instruction. This study aims to derive an educational model for vocal ensembles that incorporates in-ear monitoring (IEM). Following the procedures of an integrative literature review, forty-four domestic and international sources spanning motor learning theory, sensory feedback research, and evidence-based voice pedagogy were selected and examined through a concept matrix organized along two axes: stage of learning and channel of feedback. The analysis identified a shift in sensory reliance from auditory to somatosensory feedback as learning progresses, and revealed three gaps in the literature: no study combines the ensemble context with monitoring conditions, no study addressing monitoring proposes concrete instructional procedures, and no study applies the distinction between learning stages to the discussion of monitoring. On this basis, the study proposes a model composed of the intersection of three learning stages and three feedback channels, governed by the three components of evidence-based voice pedagogy, with safety parameters and designated intervals of mutual listening applied as common conditions across all stages. However, this model is not an empirically validated prescription but a conceptual and theoretical framework derived by applying principles from existing research to the IEM context, and its empirical validation remains a task for future research.

IEM, 인이어 모니터링, 보컬 앙상블 교육, 운동학습, 고유수용감각, 근거중심 보컬교육, EBVP, In-Ear Monitoring, Vocal Ensemble Education, Motor Learning, Proprioception, Evidence-Based Voice Pedagogy