1980년대는 문화정치의 시대였다. 군사정부는 문화정책을 통해, 민간에서는 문화운동을 통해 문화의 헤게모니를 장악하고자 치열하게 대립했다. 문화는 정신을 지배하는 근간이 된다. 제5공화국 군사정부와 민중문화운동 모두 전통민족문화를 통한 역사의 주체성 확립과 민족적 자긍심을 정립하고자 하는 공통의 목표를 가졌다. 그러 나 군사정권이 충효사상을 근본으로 둔 사대부 전통문화를 통해 국가주의를 확립하고자 했다면, 민중문화운동은 민중을 역사의 주체로 규정하며 민중중심주의를 실현 하고자 했다. 이렇듯 양자는 역사를 바라보는 방향이 서로 달랐다. 1980년대는 민중문화운동의 시대였다. 일반적으로 민중문화는 문화 안에 속하는 소범위이지만 1980년대는 군사정권이라는 정치적 환경으로 인해 민중문화운동이 문화운동보다 우위에 있는 특수한 구조가 형성되었다. 민중문화운동은 민중을 역사의 주체로 내세우고 궁극적으로 군사정권의 타도를 목표로 한 문화투쟁, 문화정치였다. 민중문화운동은 사회학, 미학, 철학, 종교 등의 인문학이 중심이 되어 이념을 계발했고, 시위나 집회에서의 현장실천에 있어서는 예술분야가 적극적으로 활동했다. 이념적으로는 마르크스주의와 민족주의가 중심이 되었고, 실천적 방안에는 전통연행예술 이 대표성을 가졌다. 또한 민중미술, 포스터, 판화 등의 시각예술분야의 활동도 매우 적극적이었다. 1980년대 후반에 민주화 열망이 전 국민적 지지를 받고 시위가 대규모로 펼쳐지면서 예술분야의 역할이 증대되었고 따라서 민중문화운동 용어도 민중문 화예술운동, 민중문예운동으로 불리기도 했다. 민중문화운동의 확산에 있어 대학생들의 역할이 매우 중요했다. 민중문화운동에 참여한 반체제 지식인들은 친북적 성향으로 거부감을 불러일으키기도 했지만, 대학생들의 활동은 민주화에 대한 순수한 열망으로 받아들여져 국민적 공감을 샀다. 반체제적인 운동은 대학가의 문화로 자리 잡아 사회주의 이념을 공부하는 소모임이 만들어지고 특히 연극반, 탈춤반, 농악반 등 전통연행예술 동아리는 이 같은 대학문화를 선두에서 이끌었다. 특히 매년 대학축제로 열리는 대동제는 군사정부에 대한 정치적 집회와 시위를 주도했다. 대학대동제는 역사 속에서 민중혁명으로 무참히 죽어간 희생자들에 대한 관심을 불러일으켜 현실에서의 민주화 실현에 대한 결연한 의지, 현실 치유의 희망을 증폭시켰다. 민중의 희생을 환기하는 목적은 민중중심의 세상을 건설 해야한다는 당위성과 필연성을 공고하게하기 위함이다. 민중문화운동은 문화예술이 경제와 정치 분야의 투쟁을 보조하는 역할이 아니라 사회의 이념적 방향을 바꾸게 하는 정신적 가치라는 것을 증명했다. 결국 군사정권은 종식되었다.

마오쩌둥 문화사상의 가장 큰 특징은 인민을 중심으로 하는 대중성에 있다고 할 수 있었다. 마오쩌둥의 문화사상에서 드러나는 문화 주체와 내용에 있어서의 인민성 또는 대중성은 그가 성공적으로 이끌었던 중국 공산혁명의 성격을 나타내어 주는 특징이기도 하다. 특히 혁명의 주체로서 농민을 자각하고 농민을 통한 민족혁명으로써 공산혁명의 임무를 완수해 낸 것은 마르크스·레닌주의의 정통적 교의에서 벗어난 것으로서 중국 프롤레타리아 혁명의 독특한 성격으로 자리매김할 수 있었다. 옌안 시기 마오쩌둥이 정립하고 발전한 민중문화관은 매우 구체적이고 명확한 것으로 그가 의미한 인민 또는 군중은 곧 광범위하게 존재하는 농민과 노동자 및 병사를 의미하는 것이었고 문화 정책의 내용은 곧 농민과 노동자 및 병사를 위한 문화의 건설, 즉 문화 대중화였다.

이 글은 한국교회에서도 유행처럼 번지고 있는 선교적 교회에 대해 북미 교회 위기의 상황에서 복음과 문화와 교회 사이의 삼자 대화를 통해 신학적으로 깊이 있게 제기된 문제와 대안을 배우고, 그런 관점에서 한국의 민중교회를 살핌으로써 양쪽의 장단점을 비교하여 상호보완하는 것을 목표로 하고 있다. 한국교회 뿐 아니라 북미 교회에서도 선교적 교회를 이해하기 어려운 점은 신학적으로 깊이 있는 논의이기 때문이어서 이해가 쉽지 않은 측면이 있고, 목회자들이 결국은 교회중심적 선교관을 포기하기 어렵기 때문이다. 그렇기 때문에 이 글은 선교적 교회론이 태동된 배경과 신학적 전제와 정의, 신학적 회심과 신학적 방향을 비교적 자세히 다루고 있다. 그리고 선교적 교회가 지역교회를 강조하기 때문에 선교적 지역교회에서 신학함을 다루고, 지역교회로서의 선교활동이 갖고 있는 내용이 앞에서 언급했던 신학적 방향과 어떻게 연결되는지를 밝히려 한다. 그리고 선교적 공동체를 육성하는 방안에 대해 제시하고자 한다. 또 선교적 리더십이 선교적 공동체를 만들어내기 때문에 선교적 리더십의 기초와 형태를 다룬다. 그리고 선교적 교회론의 장점과 한계를 지적한다. 이런 선교적 교회론을 민중교회에 적용해 보면 우선 신학적 회심과 방향에 대해 논의해 볼 수 있다. 북미교회가 복음과 문화와 교회 사이의 대화를 한다면, 민중교회는 시대적 과제와 씨름하려 했기 때문에 삼자 대화가 큰 의미를 갖기보다는 민중교회에 대한 민중의 반응이 초래한 민중에 대한 부정적 이해가 민중교회와 목회자의 정체성을 변화시키고, 이전보다 더 확대된 민중선교를 하게 됨을 본다. 그리고 민중교회에서 선교적 교회의 구성요소와 신학함, 그리고 선교활동을 살펴본다. 이런 과정을 거쳐 선교적 교회론에서 본 민중교회의 장점과 한계를 제시하고자 한다.

예이츠가 ｢1916년 부활절｣(“Easter 1916”)에 묘사한 부활절 민중봉기와 김남주가 오월시에 제시한 5·18민중항쟁은 국가의 독립에 대한 열망과 민주화에 대한 민중의 꿈이 외세의 압력에 굴복하지 않고 밖으로 분출된 진정한 민중의 항쟁이다. 부활절 민중봉기와 5·18민중항쟁은 서로 다른 문화와 정체성을 가진 민중이 자신들의 희망과 삶의 터전을 지키고 미래의 세대에게 자신들의 삶의 애환을 상속시키지 않고 종지부를 찍기 위하여 형제애의 정신으로 자신의 소중한 목숨을 희생하는 숭고한 영웅적 행위를 하여 결과적으로 국가의 독립을 성취하고 진정한 민주주의를 구현한 역사적인 사건이다. 이러한 민중은 바로 예이츠의 ‘존재의 통합’을 구현한 사람들이며, 참다운 ‘귀족’이다.

The theories of Korean Public Art originated by the artists who were against dictatorship and they associated with democratic politicians. They criticized the Fine art that were supported by the dictatorship and gave their efforts for restoration of ‘resistance paintings(against dictatorship)’, ‘proletarian painting’, ‘realism painting’. In addition, they participated new social ideology(democracy) movement and demonstrated for their rights in arts. These became the main kernel the public art theory was initiated. The public artists splitted into several different parts and participated in the democratic social movement as well as the art movement for freedom. They opened various art exhibitions within different genre, diverse space for various art section such as an exhibition hall, a factories, a university, or a congregation square. Furthermore, the public art theorists published their divergent views through newspaper/broadcasting or unauthorized printed materials. Most of the public artist and the theorists kept their relationship strongly until 1985, the time when ‘ National Arts Association’ started. In 1983 and 1984, they were clearly separated into two parts; artists(move only in art museums) and activists(move in public spaces like school, convention square etc). Their ideological separation also took out national problems. The division; professional artists and armatures, became the social issue as a social stratification matter. And in creating method, there are also other conflicts; critical realism, and public realism as well as western painting and traditional one. These kinds of separation and conflicts made different Public artists associations, under divergent names; ‘Reality and Speak’(R&S), ‘KwangJu Art Association’, ‘Durung’, ‘Dang(Land)’, and ‘Local Youth Students Association’. In addition, their ideology and pursuit toward art movements were very difference. However, the differences and conflicts weakened When the oppression of democratic education from new dictatorship(Pres. Jun, Doo Hwan) came out. In August. 1985 the government opened to the public so called, 'The draft of School stabilization law'(Hankwon Anjung Bup) to control the teachers' rights and that initiated bigger street demonstration and conflicts between police and educators. In November.1985, assembly meeting of National Arts Association in democracy opened as ‘ONE’ combined organization. In this presentation, I'd like to summarize the stream of art movement until 1984, and clarify the main art theories that lead the Public Art Movements in 1980s. The main theories in 1980s are crucial because they become the origin of public art theories. This presentation started with O,youn's ｢Hyunsil Dong In the first declaration｣ and explained the absent of practice in 1970s. In addition, Won, Dong Suk 's theory was mentioned as all over struggles in theories before 1980s. GA and R&S 's founding declarations in 1970s were the start of public art theorists' activities and this article reported the activities after the declarations. First, realism base on the consciousness of reality. Second, practice art democratization based on the ideology. Third, the subject of public art movement based on understanding people's social stratification structure. Fourth, the matters of national forms and creative ways in arts based on showing reality. Fifth, the strong points in arts that the practitioners accepted. About the public art theories around 1984, I discussed the dividing point of public art theories that were shown in ‘generation theory’, ‘organization theory’, and ‘popularization theory’ by the practitioners. The public realism theory that subjects the contradiction of reality and point out the limits of critical realism not only showing the new creative ways but also giving the feeling of solidarity to the public art activist groups. After that, public art movements expressed ‘Dismentlement of Capitalism’ and ‘Public revolution’. In addition, the direction of public art movements were established strongly. There were various opinions and views during the start and formation of the public art theories. The foundation of theorists activities derived from the practitioners who had the concept based on stratification and nationalism. The strong trend of group division spreaded out by practitioners who opened art work together in factories, universities, squares and rural areas. Now many lively active practitioners are gone to the other field not related with arts, and others join into professional art field not public art one with unknown reason. The theorists have the same situation with the practitioners. It means to me that theory always have to be based on the practice.

This paper intends to examine the significance of the “Minjoong Misool(People's art)” of the 1980s emerged in Korea in its social, cultural, and art historical context. This paper also aims to provide an analysis of the meaning and form of the individual artist's works, which have been overlooked under the dominant discourse that has emphasized their political role as a collective group. In particular, this paper scrutinizes the work of “Critical Realists” by examining the way in which they perceived Korean society in the early 1980s and visualized their experiences of the period. The figurative art newly emerged in the early 1980s challenged the formalist Modernism, which was adopted into Korea and translated into monochrome paintings and the work of the conversative academicism of the 1970s. The figurative art encouraged a social communication and moreover it intended to criticize the conflicts in the political, economical, and social domains in Korea. The targets of its critique include the unavoidable results of the unprecedented development of economy, various social phenomena of the post-industrial society, and the growth of the commercialized kitsch culture. Along with Shin, Hak-chul's work that incorporates collage technique since the 1980s, the work of some members of “Reality and Utterance” and “Im- sul-nyun” exemplify their critical interests in disclosing the false dream of wealth and happiness by both referring to and drawing on the utopian fantasy manipulated and distributed by mass media and commercial advertisements. This paper pays particular attention to Nouvelle Figuration emerged in France and Europe during the 1960s, which is comparable to the new figurative art emerged in Korea during the 1980s. Nouvelle Figuration criticized the autonomy in art isolated itself from political and social reality after WWII, in particular the indifference of Informel and abstract art as well as American abstract art. Moreover it became rather politicized around May of 1968. Given that French Nouvelle Figuration was introduced in Korea in 1982 and made a significant contribution to the formation of figurative art in Korea, it should be noted that the new figurative art emerged in the 1980s in Korea cannot be categorized merely in relation to People's Art. This paper intends to critically redress the notion that People's art was formed in the particular political, economical, and cultural context of Korea independent of the contemporary artistic practices outside Korea. It will provide a critical examination and analysis of the content and form of the new figurative art, from which People's Art was germinated, in the global context.

The aim of the article is to outline the history of the mission of the minjung church from 1983 to 2005 and to identify its new missionary tasks in a changed world. At the end of the cold war, the minjung movement in general, the minjung mission in particular, seemed to be unnecessary any more. After the economic crisis of 1997, however, the minjung mission played an important role for taking care of victims of the structural adjustment programs of many corporations, and for establishing alternative communities. Its history divides into four periods: the formation period (1983-1987), the development period (1988-1992), the transformation period (1993-1997), and the professional period (1998-2005). Each period deals with its socio-economic, political, cultural background and minjung mission’s main contents, characteristics, and limitation. The history of the mission of the minjung church is interpreted by the results of the social biographies of 26 minjung pastors. According to their social biographies, minjung pastors changed themselves in the process of the minjung mission rather than changed the minjung. They rediscovered the importance of the Bible and religion in relation to the social change. Also they found negative aspects of the minjung. They regarded spirituality and life as pillars for the forthcoming minjung mission. Some reflections on mission of the minjung church was carried out through analysing the relationship between faith and ideology, the dilemma of identity-involvement, positive understanding of religion, understanding of minjung, and theories of community organization and conscientization. In a changed world, spirituality, the minjung and life are identified as new tasks for the minjung mission.

The paper is that studied the lower­class values reflected in 《Sanyan》 and 《Erpai》 which were published in some drawing papers in the end of Ming(明) era. Among them, the lower­class, are mainly small size merchants, handicraftsmen, labor workers, the unemployed, and rude Xiake from the urban communities. Those who ran away from the urban were only struggling for living with their privileges curtailed; that is accumulation of capital and chance of education. First of all, they never gave up the desire to advance from their difficulties and longed to realize the justice of the society. The Xiake created a figure to realize their ideal, a person who spoke for the lower­class. The Xiake was a hero of the lower­class eliminating social absurdities and moral corruption from the society and embodying in the righteous communities. Their ethics was prominently low by both economical wants and loss of education. They seemed to carve for themselves just to live recklessly. They didn"t also feel remorse for their crimes and reflect on their doing bad acts; abductions, extortions, deceptions, and violations. The ethics of them no longer existed. Their life was controled by both the sense of the survival, and just the advantages. Therefore, the social confusions incurred the lower­class laid in front of them could not easily be solved.