The Covid-19 crisis and ‘critical juncture’ in cultural policy: a comparative analysis of cultural policy responses in South Korea, Japan and China

Abstract

This paper reflects on how cultural policies in South Korea, Japan and China respond to the Covid-19 crisis. It conceptualises the current period as a historically significant moment by exploring the notion of 'critical juncture'. Then, it presents an empirical analysis of what has actually happened in cultural policies in the three countries by investigating key events, debates, actors and decisions made in 2020. In Korea, the pandemic functions as a force of 'policy acceleration' by legitimising and furthering the existing development in cultural policy. In Japan, it triggered 'policy movement', where artists emerged as institutional entrepreneurs who fundamentally contest Japan's non-interventionist cultural policy and ask for policy reform. In China, cultural policy is 'locked-in' as the party-state appropriated the crisis in its ideological terms. Despite the lack of visible transformative changes (yet), the consequences of the pandemic are critical enough to determine the future direction of cultural policy.

The Moral Outlooks of Cultural Workers in Pandemic Times

“…Various calculations have been perfor-med in order to document how this situation has affected the cultural sector in economic terms. In Norway, as well as internationally, such calculations support the conclusion that the creative industries, together with the tourism industry, have probably been the most heavily affected, experiencing considerable losses of income (Berge et al 2021;Grünfeld et al 2020;Kern 2020; Organisation for Economic Co-operation and Development 2020). However, these calculations also show variations in the degree to which art forms and cultural activities are affected.…”

Future visions for the development of the Distance education system in light of Epidemic"Covid-19 as a model

“…4-2-5: Culture : While its cultural danger lies in the negative aspects of the shrinkage of cultural life with its symbols, rituals and rituals, with its values, traditions, rituals and deep meanings, those inspired by the cultures of different peoples. We have witnessed the disruption of all religious and social institutions and cultural activities at the artistic level, such as film, theatrical, television, musical and lyrical productions, folklore and the traveling circus, without neglecting other different types of activities such as competitive sports, cultural tourism and others that require a direct public presence [26].…”

Jogo Tonggo as a Cultural Policy

“…Setiap sistem bergantung pada pengaturan kelembagaan masing-masing negara yang jelas berbeda, dan karenanya tidak ada satu strategi yang bisa diterapkan untuk semua (one-size-fits-all) (Yan, Zhang, Wu, Zhu, & Chen, 2020). Negara-negara yang tergolong maju mengembangkan sistem yang relatif tidak mengedepankan penanganan ekonomi, melainkan lebih memerhatikan upaya meminimalisir dampak kesehatan yang terjadi pada masyarakatnya (An & Tang, 2020;Diurlin & Norén, 2021;Lee, Chau, & Terui, 2021;Mayer & Lewis, 2020;Pacces & Weimer, 2020;Yan et al, 2020;You, 2020). Sementara negara berkembang mengembangkan sistem yang fokusnya lebih kepada penanganan dampak sosial dan ekonomi, seperti penyaluran bantuan ekonomi dan dukungan sosial bagi penderita dan keluarganya (ASPI, 2020; Serafini & Novosel, 2021;Susilo, Hidayat, & Marta, 2021).…”

“…Kebijakan budaya yang telah stabil ini kemudian berimbas pada efektivitas mengalihkan kebijakan ini dalam menghadapi pandemi Covid-19 (An & Tang, 2020;K. W. Hong, 2019;Lee et al, 2021;Sugawara, 2021;Yan et al, 2020;You, 2020).…”