Steel Helmets: U.S. Korean War Graphics & Korean War in Color

 

 

 

The Korea Society marks the 60th anniversary of the start of the Korean War with two exhibitions running June 25 through September 10: Steel Helmets: U.S. Korean War Graphics  and Korean War in Color. Both open six decades to the day of the outbreak of conflict.


Steel Helmets: U.S. Korean War Graphics  features twenty-eight framed graphics—eighteen Korean War film posters and ten comics—from the era. With images ranging from the stark to the romantic, the film posters project images of bravery, climatic extremes, love and loss. The comic-book images, sometimes brutally visceral, portray war in all its hell and heroics. Korean War in Color  features thirty images by famed correspondent and veteran John Rich, now in his 90s. Though most Americans recall the War through black-and-white press photos, the Kodachrome images here show the war in vivid, color detail—images of masses on the move, soldiers in the field, individuals in repose.

Accompanying the gallery exhibitions are a selection of films featured on the exhibition posters, a book signing by legendary photographer John Rich, and a lecture by author Brian Locke.

 

17 June 1PM All the Young Men (1960)                  
  3PM The Bridges at Toko-Ri (1954)
  5PM Pork Chop Hill
  6PM Press and Member Preview and Reception
     
25 June 1PM The Steel Helmet (1951)
  3PM Battle Hymn (1957)
  6PM Special Signing of the book, Korean War in Color, with author John Rich
     

war_in_color_books

22 July 6PM Hollywood, Race and The Korean War with Professor  Brian Locke

Steel Helmets: U.S. Korean War Graphics and Korean War in Color
June 25-September 10

 

 

 

 


 

Masks of Night: Faces from Traditional Korean Dance-Dramas

Koreans expressed their passion and fear through masked dance for hundreds of years.  The dance-drama dates back to shamanic ritual aimed at warding off malevolent spirits and grew into a form of popular entertainment that poked fun at the establishment.

March 4—April 25, 2010

Free and Open to the Public.

The Korea Society Gallery
950 Third Avenue @ 57th Street, 8th Floor 
(Building entrance on SW corner of Third Avenue and 57th Street)

Over the centuries, masked dance evolved from shamanic ritual to popular entertainment.  By the mid-eighteenth century, masked dance was firmly rooted as popular entertainment featuring dance, song and dialogue, with distinct regional varieties on offer.  Masked dance-dramas were staged outdoors and in the countryside as all-night, bonfire-lit events. The performances took place during planting and harvest, to promote fertility, and on the eve of the lunar new year and Buddha’s birthday to ensure good fortune. The dramas also were performed to welcome foreign envoys.

Dancers began by donning the masks—made from gourds, wood, bark, animal fur, cloth, and paper-mâché—and, like their shamanic predecessors, invoking the deities.  What followed was a riotous series of satirical sketches featuring characterizations of wayward monks, pompous playboys, love triangles and farcical noblemen. In this way, the dances functioned as a catharsis for the community, releasing through laughter the pent-up tensions created by the Chosŏn Dynasty’s (1392-1910) rigid moral and social strictures. The performance ended at dawn when the masks were tossed into the bonfire, symbolically expelling misfortune. As a result of this tradition, intact dance-drama masks from the period are exceedingly rare.

This exhibition features traditional dance-drama masks carved by four master artisans in the 1970s and 1980s. The masks here are of four regional types: Pongsan (Hwanghae province in the northwest of North Korea), Songp’a (Seoul), Yangju (north of Seoul), and Tongnae (south of Kyŏngsang province). The exhibition also features reproductions from an original set of Hahoe (Andong) exorcism masks from North Kyŏngsang province. Each regional style has been designated as an Important Intangible Cultural Property of Korea.  Unfortunately, the carving of traditional masks has become a dying skill.  Of the four artisans featured here, only one survives.

The masks in this exhibition are on loan from the collection of Dr. Theresa Ki-ja Kim.


mask1 mask2mask3 mask4mask7 

Talismans of Protection from Chosŏn Korea: Antique Locks, Latches and Key Charms

Shown for the first time in the United States, the collection features a rare collection of locks, latches and key charms, from the Chosŏn Dynasty (1392-1910), beautifully designed metal and wood objects executed in myriad shapes.

This exhibition features a rare collection of locks, latches and key charms, from the Chosŏn Dynasty (1392-1910). The items reveal the richly symbolic and exquisitely decorative dimensions of traditional Korean aesthetic and craft traditions. On loan from the Lock Museum in Seoul and shown for the first time in the United States, the collection includes beautifully designed metal and wood objects executed in myriad shapes: dragons, turtles, butterflies, fish, bats and swallows. Although these objects served functional purposes in everyday life, such as securing gates and protecting the contents of chests and other kinds of furniture, the beauty of their design underscores the primarily symbolic nature of the protection they afforded. Traditionally, Koreans believed that locks and latches fashioned in the shape of talismanic animals could invoke the power of these animals both to ensure the protection of their property and to bestow the blessings of wealth, health, fecundity and happiness. As an accompaniment to the locks and latches, key charms evolved from functional key holders into exquisitely decorated personal accessories passed from mothers to daughters as a symbol of the transfer of responsibility for ensuring the good management of household affairs.

On loan from the Lock Museum in Seoul, and shown for the first time in the US. The exhibition was organized by The Korea Society and is co-presented with Flushing Town Hall.


 

Missionary Photography in Korea: Encountering the West Through Christianity

 

 

mt_ignore:missionary_exhibition.jpg

The arrival of the first Western missionaries in Korea in the late 19th century was a pivotal moment in the history of Christianity in Korea and the history of Korea as a whole. The missionaries established new religious identities and stoked early culture clashes. They also documented their mission and the society around them with early cameras. Missionary Photography in Korea: Encountering the West Through Christianity—the largest ever show of Korean missionary photographs in the U.S.—features rare images taken by missionaries in Korea between 1890 and 1940.

Taken by both Protestant and Catholic missionaries, the photographs—on display along with unique supplementary objects such as an original photo album and New Year’s calendars—offer a singular perspective on life in Korea during times of profound change. They illustrate the forging of contemporary institutions and values in the crucible of encounters with American Christian missionaries by Koreans.

The impact of early Western contact on Koreans is evident in the telltale signs of new cultural norms and new religious identities, and clues that these new ways were conflicting with long-held traditions. Less directly evident, but equally important, the images also allow the viewer to surmise how Koreans in turn had a formative impact on the missionaries, which led to intertwined personal histories that became a foundation for subsequent relations between Korea and the United States.

Drawn from four private collections and six academic archives, the images have been digitally restored and printed in a manner that retains, as far as possible, the archival quality of the images.

On May 5, 2009, Don Baker, Associate Professor in the Department of Asian Studies at the University of British Columbia, spoke about the history of Christianity and religion in Korea with Fred Carriere, The Korea Society’s Executive Vice President. The interview is in support of ‘Missionary Photography in Korea: Encountering the West through Christianity,’ an exhibition previously on display at The Korea Society Gallery.

Purchase the 184-page hardcover exhibition catalog.

2009_10_22_donald-clark

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Hardcover Exhibition Catalog, Missionary Photography in Korea


Exhibition Catalog $40.00

 

Missionary Photography in Korea 34 42 5 71 83

  1. Anti-TB campaign Christmas Seals (Seoul / 1930s, Norman Thorpe Collection)
  2. Western Style Clothing Shop in Korea (Chemulp’o Port/ca. 1910, Mission Photograph Collection, General Commission on Archives and History, The United Methodist Church, Madison, New Jersey)
  3. A Christian Wedding (Seoul/ca. 1920, Mission Photograph Collection, General Commission on Archives and History, The United Methodist Church, Madison, New Jersey)
  4. Catholic Foreign Mission Society of America (P’yŏngyang / 1924, Maryknoll Mission Archives)
  5. Soongsil Christian Academy’s Soccer Team Champions (P’yŏngyang / 1925, The Moffett Korea Collection, Special Collections of the Princeton Theological Seminary)
  6. Missionary Children: The Roberts Daughters (Sonch’ŏn, North Pyŏngan Province / ca. 1910, Donald Clark Collection)

The Religious Revolution in Modern Korean History

2009 05 05 ReligiousRevolutionIcon

On May 5, 2009, Don Baker, Associate Professor in the Department of Asian Studies at the University of British Columbia, spoke about the history of Christianity and religion in Korea with Fred Carriere, The Korea Society’s Executive Vice President. The interview is in support of ‘Missionary Photography in Korea: Encountering the West through Christianity,’ an exhibition previously on display at The Korea Society Gallery.

The arrival of the first Western missionaries in Korea in the late 19th century was a pivotal moment in the history of Christianity in Korea and the history of Korea as a whole. The missionaries established new religious identities and stoked early culture clashes. They also documented their mission and the society around them with early cameras. Missionary Photography in Korea: Encountering the West Through Christianity—the largest ever show of Korean missionary photographs in the U.S.—features rare images taken by missionaries in Korea between 1890 and 1940.

Taken by both Protestant and Catholic missionaries, the photographs—on display along with unique supplementary objects such as an original photo album and New Year’s calendars—offer a singular perspective on life in Korea during times of profound change. They illustrate the forging of contemporary institutions and values in the crucible of encounters with American Christian missionaries by Koreans.

The impact of early Western contact on Koreans is evident in the telltale signs of new cultural norms and new religious identities, and clues that these new ways were conflicting with long-held traditions. Less directly evident, but equally important, the images also allow the viewer to surmise how Koreans in turn had a formative impact on the missionaries, which led to intertwined personal histories that became a foundation for subsequent relations between Korea and the United States.

Drawn from four private collections and six academic archives, the images have been digitally restored and printed in a manner that retains, as far as possible, the archival quality of the images.

Purchase the 184-page hardcover exhibition catalog here.

North Korean Images at Utopia’s Edge

 

 

Exhibition

September 9 – December 12, 2008

Tuesday, September 9, 2008

The Korea Society presents, for the first time ever in the United States, the art of North Korean woodblock printing. In an exhibition spanning the last three decades of North Korean artistry, North Korean Images at Utopia’s Edge features 24 prints from the Nicholas Bonner Collection. These prints offer a fascinating picture of North Korean conceptions of daily life and work, family and Fatherland. Four subject areas delineate the contours of North Korea’s vision of an earthly paradise: harmonious families, plenteous landscapes, male laborers and women at work.
 
Following its engagement at The Korea Society, North Korean Images at Utopia’s Edge will be available for travel to colleges, universities, galleries, and non-profit institutions across America.

Related program:

Crossing the Line, directed by Daniel Gordon and narrated by Christian Slater
Tuesday, October 28, 2008
6:00 PM-6:30 PM • Registration and Reception
6:30 PM-8:30 PM • Screening and Q&A

Join The Korea Society for a screening of this unique documentary, followed by a conversation with co-producer Nicholas Bonner.

mt_gallery:nkwoodblock


 

The Kyopo Project

 

 
Exhibition

kyopoproject-gallery.jpgThrough Friday, August 15, 2008

Kyopo (교포) is a Korean term for people of Korean descent who reside permanently outside of the Korean Peninsula. The Kyopo Project is a collection of images created by photographer CYJO to highlight the diversity of the global kyopo community.

Emigration from Korea to other countries in Asia began as a trickle in the mid-nineteenth century, and accelerated during the first half of the twentieth century as the depredations of Japanese colonial rule increased. A second wave of emigrants began leaving for the Western Hemisphere, particularly the United States, in the mid-1960s. Kyopo hail from virtually every country in the world, but the vast majority reside in just three countries: China, the U.S. and Japan. Today, kyopo number approximately 6.5 million—one for every ten Koreans residing in the Korean Peninsula.

This exhibition features a series of 171 full-length portraits of kyopo from around the world. It shows each subject in their analogical plenitude, as Roland Barthes would say, and betrays/displays the intimate relation of the photographer to the portraits. The subjects are posed frontally, with their eyes returning the camera’s and the viewer’s gaze. Thus, each subject connects with and mirrors the others, while also reflecting their inherent differences. Ranging in age from teenagers to a septuagenarian, they are novelists, actors, teachers, comedians, athletes, executives and retirees. The striking diversity of the group—the subjects do not appear to have much in common other than their Korean ancestry—challenges the idea of a monolithic, authentic Korean identity and stimulates exploration of what it means to be Korean. The exhibition also poses the question of how kyopo negotiate the sometimes conflicting expectations and sensibilities arising from their intrinsic bicultural identity.

Asian Diasporas: New Conceptions, New Formations, a collection of essays co-edited by Rhacel Salazar Parreñas and Lok Siu, will be available for purchase at The Korea Society during the exhibition.

 

 

For inquiries about the exhibition in The Korea Society Gallery, contact Jinyoung Kim at (212) 759-7525, ext. 316 or email .

This exhibition was made possible in part by support from the Joh Foundation, Andy S. Ree, Asian/Pacific American Institute at New York University, Gie Kim, Alexander Brodsky, the Network of Korean-American Leaders (NetKAL), Bomsinae Kim, P.J. Kim and Hoon-jung Kim. Additional thanks to Timothy Archambault, Stephan Valter, Joseph and Linda Kang Chong, Kevin and Clara Kim, Younmee Shin, Min Yang, Charles No and all The Kyopo Project  participants. 

Read more about The Kyopo Project:

 

ChelseaNow
KoreAmJournal.com
Korea Daily May 22, 2008 (Coverage of exhibit in Korean)
PBS 13 Sunday Arts News June 28, 2008 (video)
Asians in America Magazine, June 2008

 

ImageExhibiting Korea 2007
A New, Monthly Series of Gallery Talk Programs at The Korea Society

The Kyopo Project

with

 
 

Cindy Hwang
Photographer

 

Thursday, November 15, 2007 at 6:30 PM

The Korea Society Auditorium

 

Millions of Koreans live outside of Korea; many of them have never even set foot in their home country. In Korean, they’re known as kyopo. And the Kyopo Project, organized by photographer Cindy Hwang, tells their story.

 
 

Begun in November of 2004, the Kyopo Project is a collection of over 100 portraits-both photographic and literary-of overseas Koreans from around the world. The stories and images of these kyopo, fully integrated into countries as far afield as the U.S., Canada, Denmark and Brazil, reveal an emerging, dynamic identity that defies received wisdom on kyopo in both Korea and around the world.

 
At an enlivening and inquisitive gallery talk, Cindy Hwang will display sections of the Kyopo Project, and discuss how today’s trans-national kyopo communities are reshaping their host countries and Korea.

Photo: Daniel Dae Kim, Photo © CYJO

About the Presenter

Cindy Hwang is a freelance photographer in New York City. Her photos often seek to capture the inherent beauty of her subjects through traditional and interpretive portraiture. Much of her work included in the Kyopo Project focuses on capturing the collective persona of a cultural diaspora and the inherent synergies produced by subjects during the documentation process. Hwang is a graduate of the University of Maryland and the Fashion Institute of Technology in New York. A fashion industry expert, her clients include Guess Watches, Equilend, Elle International, Angelo Filomeno and Jessica Corr.

 
 
 

Questions, registration? call Jinyoung Kim, senior program officer for arts, 212-7597-525 ext 316 or emailThis e-mail address is being protected from spam bots, you need JavaScript enabled to view it .

 
 
 

Exhibiting Korea
A New, Monthly Series of Gallery Talk Programs at The Korea Society

Exhibiting Korea, a new monthly series of presentations on the fine arts, film, fashion and architecture of the Korean Peninsula, is debuting this April. Series programs will address contemporary trends in cultural expression in Korea, and take audiences back to important movements they might have overlooked. These gallery talks, given by top experts, critics and artists, will put the colors and shapes of modern Korea on display-and explain the cultural and historical contexts behind them. Please join us.

Other Programs in this Series
(all held at The Korea Society Auditorium, 6:30 PM)

Date

Title

Speaker

April 5, 2007

How Did Korea Become a “Land of Apartments”?

Valérie Gelézeau

May 24, 2007

The Forgotten Legacy of the Minjung Art Movement in South Korea

Soyang Park

June 7, 2007

The Modern Boy and Modern Girl in Colonial Korea: 1910-45

Yeon-Shim Chung

July 12, 2007

Film Screening of A Petal and Q&A with actress Lee Young-Lan

Lee Young Lan

October 25, 2007

Dressed to Kill: Women’s Fashion and Body Politics in North Korea

Suk-Young Kim

November 15, 2007

The Kyopo Project

Cindy Hwang

 

 

 


Inside North Korea with the New York Philharmonic

 

 
Exhibition

April 24–May 16, 2008

Opening Reception
Wednesday, April 30, 2008

The Korea Society is pleased to present Inside North Korea with the New York Philharmonic, an exhibition of photographs by award-winning photographer Mark Edward Harris that document the concert by the New York Philharmonic orchestra in the Democratic People’s Republic of Korea on February 26, 2008.

In these fascinating and often-stunning photographs, Harris offers a portrait of the historic event, encompassing both the concert itself and all the other major activities of the nearly 300-member delegation—artists, staff, accompanying patrons, guests and press corps. The exhibition captures multiple aspects of the New York Philharmonic orchestra’s two-day visit to Pyongyang, the capital of the Democratic People’s Republic of Korea. Most notably, the photographs afford an inside view of this previously unimaginable influx of Americans—the largest group since the days of the Korean War over half a century ago—and insights into the inhabitants of this reclusive country.

The exhibition is accompanied by Harris’ book, Inside North Korea, published by Chronicle Books in 2007, which features photographs from previous visits to the Democratic People’s Republic of Korea. These photographs document life in Pyongyang and scenes from along the northern border with China, the highly militarized DMZ and the tightly controlled economic and tourist zones. The book, which includes short essays, extended captions and a foreword by noted North Korea expert Bruce Cumings, will be available for purchase at The Korea Society during the period of the exhibition.

  • Voice of America News (Coverage of exhibit in Korean)
  • FrictionTV (Video with President of The Korea Society, Evans Revere, and photographer Mark Edward Harris)

Following its run at The Korea Society, Inside North Korea with the New York Philharmonic will be available for travel to colleges, universities, galleries and non-profit institutions across America.


 

Toy Stories: Souvenirs from Korean Childhood

Toy Stories: Souvenirs from Korean Childhood

Toy Stories: Souvenirs from Korean Childhood

 

Exhibition

January 31–April 18, 2008

Toys are always more meaningful than the simple playthings they appear to be. They can embody the fantasies, values, obsessions and anxieties of a generation. With Toy Stories: Souvenirs from Korean Childhood, The Korea Society put on display over 90 children’s toys from South Korea in the 1970s and ‘80s. On loan from the Hyeon Tae-Joon Collection in Seoul, the toys—flamboyantly colored action figures, robots, miniature tanks and paper dolls—captured a society in economic and social flux and a generation with rising hopes for the future.

The exhibition debuted on January 31 with an opening reception. Guests admired lines of action figure heroes which, reflecting the economic circumstances of the period, were often bland knock-offs of foreign models. Plastic robots ornamented with futuristic weapons captured viewers’ attention just as they had drawn in a generation of Korean boys, treating them to a sneak preview of a fantastic future where science made anything possible. Korean girls’ futures were more limited, circumscribed by the miniature kitchen and hospital utensils and paper dolls that encouraged them to dream only of becoming housewives or nurses.

Many of the items in the exhibit were modeled on cartoon characters popular in Korea during the period, and in particular, characters drawn from Robot Taekwon V, Korea’s first feature-length animated movie. Throughout its run, Toy Stories: Souvenirs from Korean Childhood was complemented by programs that explored the importance of animation and Robot Taekwon V to Korean youth culture.

On February 7, Aaron Han Joon Magnan-Park, a professor in the department of film, television and theater at the University Notre Dame, gave a gallery talk titled “Our Toys Our Selves: Robot Taekwon V and South Korean Identity.” Magnan-Park explained how Robot Taekwon V cemented children’s loyalty to an emerging South Korean identity by using a state-sanctioned style of taekwondo to fight off invidious foreign enemies. On March 18, The Korea Society screened Robot Taekwon V for an audience of animation enthusiasts.


Thursday, January 31, 2008 at 5:30 PM

ImageFilm Screening: Robot Taekwon V
Animation feature-film,
Directed by Kim Cheong-gi,
produced by Yu Hyon-mok.
Running time: 79 minutes

When an army of giant mecha attack, young martial-arts champion Kim Hoon must pilot Robot Taekwon V to defend the planet! Inspired by Mazinger Z, a Japanese anime popular in 1970s Korea, Robot Taekwon V was the country’s first full-length animated feature and the first to be digitally restored (1976).


 

  • Gallery Talk

Thursday, February 7, 2008

Our Toys Our Selves: Robot Taekwon V and South Korean Identity
with
Aaron Han Joon Magnan-Park
Professor of Film, Television and Theatre, University of Notre Dame

 

Children growing up in South Korea in the1970s faced an overwhelming barrage of cultural influences from the United States and Japan, the nations that, for Koreans, defined the prevailing images of the successful modern industrialized state during the Cold War era. President Park Chung-Hee was determined to bring South Korea into their ranks and, as a means of achieving this goal, adopted an export-driven industrialization policy that laid the economic foundations for the country’s rise to its present status as the 11th largest economic power in the world.

However, merely emulating the American and Japanese models of economic and technological progress could not instill within the Korean population a long-term self-sacrificing work ethic. Rather, the nation needed a Korean-specific hero who could create a vision of a forward-looking, technologized South Korea independent of the type of technological advances that the United States and Japan could already provide.

Kim Cheong-gi’s 1976 animation feature-film Robot Taekwon V signaled a significant contribution in advancing the image of an independent South Korea through the persona of a Korean-specific robot that effectively stands guard against enemies of superior numbers and with access to advanced technology.

This presentation illustrated how the Korean-specific features of Robot Taekwon V encouraged South Korean audiences to celebrate a Korea-centric paradigm of heroism that negated the United States and Japan and more importantly, exorcised the North Korean threat.

About the Presenter

Aaron Han Joon Magnan-Park is an assistant professor in the Department of Film, Television and Theatre at the University of Notre Dame. He specializes in pan-Asian cinema, sound theory, international action cinema and post-colonial theory. He has previously taught at Victoria University of Wellington in New Zealand, Illinois State University, Wesleyan University, University of Iowa, American University of Paris and the University of Paris IV-Sorbonne.


 

Korean Funerary Figures: Companions for the Journey to the Other World

funerary-ft.jpgExhibition

July 26, 2007 – December 18, 2007


  • “… eye-catching.” – New York Times Art Review,
    “Korea’s Extraordinary Send-Offs for Ordinary People”, August 17, 2007 link
  • “… the artifacts… are truly treasures.” – Japan Times Review,
    “Little Friends for the Other World”, October 11, 2007 link

Death is an aspect of the human condition that touches every culture in every age, and almost all cultures envelop death in a rich artistry as a way of managing the trauma it causes. In nineteenth and early twentieth century Korea, artisans carved joyful wooden figurines depicting acrobats, clowns and mystical animals-which are called kkoktu-to place on the funeral biers of the departed. A collection of 72 kkoktu will be brought to the U.S., for the first time ever, for an exhibition in The Korea Society Gallery. Organized jointly with the Seoul-based Ockrang Cultural Foundation, Korean Funerary Figures: Companions for the Journey to the Other World will run at The Korea Society Gallery from July 26 to November 20, 2007.

The kkoktu are archaeological treasures in their own right. Their costumes and poses reflect the realities of rural Korean village life during a period that left few written records. More importantly, the kkoktu open a window on a timeless, characteristically Korean attitude towards death. Though the gaiety depicted in many of the figurines may seem incompatible with mourning, what they are intended to express is a deep desire that the deceased loved one will enter the next world surrounded by joy. The figurines also embody a sophisticated appreciation of the fleeting nature of all experience.

The show’s opening reception will be held on July 26 at 5:30 PM at The Korea Society Gallery. To provide a cultural context for the exhibition, immediately following the reception, Dr. Laurel Kendall of the American Museum of Natural History will give a Gallery Talk on the shamanic rituals for the dead beginning at 6:30 PM.

 

“Journey to the Grave, Dance to Paradise: Shamanic Rituals for the Dead”
with Laurel Kendall of the American Museum of Natural History.

 


ockranglogo.jpg

The Ockrang Cultural Foundation was established by Dr. Ockrang Kim, who also is the founder of the Dongsoong Art Center. In her capacity as chairperson of the Foundation, Dr. Kim has been providing support for culture and the arts since 1992. Under the guiding concept of promoting a contemporary renewal of the cultural traditions of Korea, the Foundation is engaged in a diverse array of projects. Its efforts are directed toward finding ways to support more creative and innovative forms of artistic expression rather than the conventional forms typically supported by the government and large corporations in Korea. In this way, the Foundation is seeking to develop a new methodology for promoting a more authentic Korean culture by funding opportunities for artists to conduct original cultural research and to devote themselves to creative activities. Currently, the diverse projects the Foundation is pursuing include the Ockrang Drama Prize, the Ockrang Documentary Award given in collaboration with the Seoul Women’s Film Festival, the Ockrang-Asian Cultural Council Fellowship awarded in collaboration with U.S.-based Rockefeller Foundation, the Ockrang Kkoktu Museum with its research program, and several other scholarship programs.

‘전통의 현대적 창조’라는 설립이념 아래 다양한 사업들을 펼쳐오고 있는 옥랑문화재단은 동숭아트센터 설립자인 김옥랑 이사장에 의해 1992년에 설립되었습니다. 정부와 대기업 중심의 획일화된 문화예술 지원에서 보다 다양한 문화예술 지원의 통로를 구축하고자 노력해 왔으며, 문화예술 연구 및 창작 활동 공간 지원을 통해 한국적인 문화의 메소드(method)개발을 위해 노력하고 있습니다. 현재 새로운 희곡과 작가를 발굴하는 옥랑희곡상, 여성영화제와 함께하는 다큐멘터리 옥랑상, 미국 록펠러재단과 연계하는 Ockrang-ACC Fellowship, 옥랑꼭두박물관(나무꼭두연구), 장학금사업등 다양한 사업을 펼쳐나가고 있습니다.