본문 바로가기

주메뉴 영역

Spotlight

  • ALL
  • Festivals
  • Conference/Meeting
  • Venues

본문 영역

  • 프린트
  • 스크랩
PAMS Experienced by the PAMS’ Generation
 PAMS Experienced by the PAMS’ Generation
Writer : theApro editorial team 2013.10.15 Asia > Korea

PAMS Experienced by the PAMS’ Generation
[Festivals/Markets] Discussion ② Review of the Past 8 Years of the Performing Arts Market in Seoul 2 – Creation & Distribution


Public Confidence Implied by the Name “PAMS”

KIM Shin-ah (Moderator) : First of all, there are differences between the periods before and after the Performing Arts Market in Seoul was launched. Considering your ages, you three wouldn’t have worked in this area before the PAMS existed. Let us discuss the differences between entering the global market through the PAMS at Korea Arts Management Service (KAMS) and doing so through other public funds.

LEE Hee-jin : The works entering the global market through the PAMS have some advantages: first, subtitles are provided and second, the performances have proven themselves to have public confidence through the PAMS Choice. Although the PAMS isn’t useful if you have to explain the PAMS Choice in detail to those who haven’t participated in the PAMS, you don’t need to do so to the presenters you meet inside the PAMS. So it is a great opportunity to actively meet people. As for the advantages of funds, many international exchange funds were concentrated on September and October last year while the funds provided by the PAMS were distributed throughout the year in several times. Tour performances are scheduled not only in 2013 but also at the beginning or in the middle of 2014. In that case, you can be reassured that the works selected through the PAMS Choice will be able to secure some support. Its advantage is to widen the spectrum of international exchange.

KIM Min-young : Korean traditional music is an area in which people don’t feel the need of international exchange. Since it can be heard only in Korea, the overseas market wants it even if the organization doesn’t have the willingness to enter the global market. As the Ulsan World Music Festival is launched and world music rapidly emerges on the global scene, people naturally think that they have to do something. In most cases, if there is no planner but there is an English-speaking director, they start by saying, “Would you do it?” In my case, too, when I joined my organization in 2008 and 2009, I was the first planner to attempt international exchange.Suppose that you goabroad every year, even though you don’t know why you want to participate in international exchange. You then think thatyou have to do it again this yearbut there are now too many festivals and you want to explore new ones in addition to the ones that invite you. In other words, you are now in a position to participate in international exchange more actively. In that context, the PAMS offers the easiest access. Indeed, the ensemble “Jeong Ga Ak Hoe” was selected through the PAMS Choice. Its performance hadn’t received any financial support and it hadn’t been wanted by the overseas market. However, after the organization first presented its work at the PAMS, those from the global market came to have more interest in Korea music. Consequently, some people suggested that the organization present other works. On that occasion, it came to visit many countries to perform. It hasn’t received any big prizes in foreign countries and it hasn’t showcased its work at WOMEX but the only fact that it is a “PAMS Choice” organization provides it with great public confidence. In addition, playing Korean traditional music has also been beneficial for the organization. Since the export of Korean traditional music is one of the major projects of KAMS, it has been helped not only by its own willingness, performances and the PAMS but also by KAMS’ network.

SON Eun-young : I have worked with the Pansori “Ja” for a year and a half. After presenting Song of Sacheon in 2009, it was invited by Poland to perform abroad for the first time and its overseas performances have continued since then. The collaboration by Gabor Tompa from Rumania and Jaram Lee at Seoul Arts Centerin November started after Tompa saw Song of Sacheon in Poland and invited Song of Relentlessness to a Rumanian festival. This proves that the PAMS is a major gateway to the global scene.

KIM Shin-ah : independent arts producer LEE Hee-jin : AsiaNow producer

KIM Min-young : former Jeong Ga Ak Hoe producer SON Eun-young : Pansori ZA producer

But What We Still Want for the PAMS Is…

LEE : Some works that are selected for the showcase make us question the reason for the selection. An organization called “AsiaNow” concentrates on international exchange so much that it is important for it to showcase its works efficiently to show them tomany presenters and get feedback. If you don’t showcase your works in foreign countries, the PAMS is the only place to go. In that sense, the PAMS gives many opportunities to organizations and it is up to them to grab these opportunities. Of course, it could be the problem of the judges. Some selected works make us curious about how it was selected and if it could be presented abroad, at least in the case of my own genre, the theater. The main goal of the PAMS Choice is to show the works to overseas presenters, theaters and festivals. However, some works make me question if they follow current global trends and if they could be presented abroad.

KIM : As for Korean traditional music, the PAMS, Jeonju International Sori Festival and Ulsan World Music Festival are all held in October, with overlapping participants. So when Korean traditional music planners get together to discuss where to present their works effectively, the PAMS isn’t actually their first priority. In the case of the PAMS, it is important to generate impacts during a short period of time so it seems to be a little different from local festivals where organizations can present their one-hour performances. The main reason why they come to the PAMS seems to be financial support. It is a little regrettable that their main priority is not to make good Korean music, to meet a good presenter and to have an opportunity to perform elsewhere. If the three events present Korean traditional music during the same period, I want them to be different from each other. It would be great if it were clearly known where to go for organizations expecting overseas performances and where to go for those wanting to engage in diverse activities in addition to going abroad.

SON : Although the opportunity of being invited by foreign countries can be grabbed by organizations at the PAMS, I believe that now is time for them to select a better festival or environment when going abroad. In that sense, I suggest that KAMS provide them with more information and guidance.

Moderator : Actually, we could still think if Korean content is appropriate when it comes to verifying overseas participants’ possibility of inviting the Korean works and when it comes to calling persons meeting this criterion. I believe that the PAMS was successfully launched because at the beginning, it invited celebrities to secure its reputation. Nevertheless, when thinking if the invitees were fit for the content, it is necessary to share information on those who are suitable for Korean content.

LEE : I suggest that the PAMS provide us with the list of overseas participants in detail. The market is important but the preliminary work is also important. It is important to check the size of the theater according to the invitees, to review the environment meticulously, to send letters and to promote the market. However, since the list of invitees is confirmed late, there isn’t enough time to do research. Last year, or maybe two years ago, we had to attend the workshop to have information on the invitees. It was regrettable that we had to repeatedly listen to the information on those who have participated for several years. If a list doesn’t include detailed information, it is inefficient.

Awareness of the PAMS or KAMS in Foreign Countries

Moderator : I have realized that the awareness of the PAMS or KAMS has been raised gradually in foreign countries. If an organization goes abroad by itself without KAMS, what is the level of its awareness? In a foreign country, haven’t you met a person who unexpectedly wanted to come to the PAMS or who knew KAMS?

LEE : I started working in this area after the launch of the PAMS so the “before and after” comparison is difficult but anyway, as a market, the PAMS is networking with other markets. KAMS has focused on letting people know about the PAMS and I believe that there has been a synergistic effect. In addition, when explaining the PAMS Choice, organizations are worried about funds but I can explain that KAMS has certain funds and that there are other programs including the Center Stage run by the PAMS. When KAMS installs a booth at the market to give such information, it is very helpful.

KIM : During the PAMS, I establish close relationships with delegates and it often helps me when I go abroad. The person in charge of international exchange at KAMS also solves problems. Sometimes, when I can’t contact a certain delegate, the person in charge explains his or her characteristics or situations and tells me why I can’t reach him or her. This comforts me greatly. Actually, in a foreign country, someone asked me if I know someone at KAMS and why he or she isn’t at the festival. Such stories form a common denominator which is helpful. Plus, Korean traditional music greatly benefits from KAMS. I don’t know about other genres but I participated in some festivals two or three times even though I hadn’t known about the events, thanks to the announcement made by KAMS. KAMS provides artists with great support during their preparation and it also checks their progress in the middle of their preparatory work so that they can complement what is missing.

Need to Concentrate Venues

SON : I suggest that the market venue be selected by considering mobility. Because the venue is located too far, it became difficult to focus on running a booth and the number of people was insufficient in the booth. If the mobility problem is solved, the situation will improve.

KIM : It is best for Korean traditional music companies to perform different works and to ask the invitees to get what they want. So there should be a program during which we could play diverse Korean music pieces, rather than a showcase. In the case of those performing Korean traditional music, they trusted the market and they worked hard to promote their music in the booth. But when people went to see the showcases, they weren’t able to say anything about what they do.

LEE : The major goal of a market is to serve as a venue for presenters and organizations to buy and sell products. So organizations make ceaseless efforts in their own way to draw attention. Although some presenters participate in their own session, many of them use booths to get information. You might wonder why they are doing this but just small events can be useful. It is important to gather people tougher in one place, rather than sending them to outside venues. This is where the PAMS has become somewhat weak recently. There is a limit to expanding the scope of presenters and there is the problem of meeting the same people every year. I want the PAMS to gather presenters in one pace. This year, too, venues are scattered. I understand that the PAMS is pursuing diverse programs but there is no room to breathe. During the PAMS, presenters say that this looks like a boot camp because right after a certain program, they have to move to another one, without the time to feel the resonance of the former. In a networking venue, there should be enough room and time to network. However, the pursuit of, or even the obsession with diverse programs could make presenters and artists feel that they are attending school classes without any break. I don’t know about last year because I didn’t participate but would it be the same this year?

Moderator : If Korean content hasn’t improved greatly, we might not even see the people we used to see any longer at this point. The development of the market, participants and content should be done at the same time and this is where KAMS’ dilemma arises. I believe that it should suggest a vision with which it can come up with new ideas about what is the most basic, for example, gathering people together. Unless it is helped by others for its future direction and unless it continues to listen to the voices from the arts scene, KAMS won’t make any progress. The standardized framework called “market,” the fact that the content we can sell cannot go beyond a theater with 300 seats and the obsession with selecting only reasonable works for the PAMS Choice… These are the current problems. The PAMS should offer good content and invite good people. If other projects are needed, organizations could communicate by email or go abroad to discuss. Mr. Sang-cheol Choi, a choreographer, said, “Thanks to the PAMS Choice, I was able to develop the 30-minute repertoire again and during the overseas performance, I was able to develop it once again. That is why the PAMS Choice was an important opportunity for me.” I watched the performance during its premiere and I didn’t like it but I felt proud of the performance in Canada. In other words, if performing opportunities are given repeatedly and if artists perform in a place comparable to a battlefield, they can improve their repertoire. This is very helpful for organizations. Some people say that if we collect the information on the applicants of the PAMS Choice and if we tell them to be judged abroad, it could ensure competitiveness and fairness.

Originality and Strictness Required for the PAMS Choice

Moderator : As for some genres, certain organizations are introduced repeatedly. More works are explored through the PAMS Choice but wouldn’t it be necessary to first improve the selection of the jury more objectively?

LEE : Since the PAMS Choice depends on the jury’s taste, it is necessary to make such changes. Works drawing attention in foreign countries and those attracting the audience in Korea are different. The audience’s first reaction to WOYZECK by Sadari Movement Lab wasn’t positive but presenters liked it. When going abroad, works are presented in different ways, depending on regions and target audiences. That is because if the audience isn’t interested, even a very good work can’t achieve success. This should always be considered for international exchange. You see presenters whom you have always seen. It is necessary to develop presenters and delegates. Meanwhile, the PAMS chooses a certain region very year and it elaborates on the region and it is very helpful for us because we can study a new region every year. Nevertheless, certain years seemed to be too much focused on dance or on multi-genre performances.

Moderator : The positive aspect of the Center Stage is the fact that it created a framework for networking. It was able to become a sample. In the past, it informed those performing Korean traditional music that they had to be supported for their fee and airfare to perform for Koreans living abroad. Regardless of its validity, it is meaningful that it offered guidelines. However, it cannot embrace everything, expand the market and work in a detailed manner. So anyone, including experts from each area, should cooperate.

KIM : When selecting works for the showcase, only the works participating in the public contest become candidates. The problem seems to arise when all the works are selected through the public contest.

SON : The public contest itself has its limits. Couldn’t the PAMS suggest a selection process other than the public contest? For example, it could expand the pool of its judges. Korea Creative Content Agency randomly chooses its judges from a huge pool of jury. This could improve the current system.

기고자프로필

theApro editorial team
theApro editorial team
  • 프린트
  • 스크랩
Copyright
Origin
http://eng.theapro.kr

top



페이지 맨 위로 이동