Following the introduction of the Support for Arts and Culture Education Act in 2005, official policy-driven support for arts and culture education became effective, which led to the rapid proliferation of projects supporting such programs in South Korean schools. However, despite the increase in the number of arts and culture education programs in schools, there is much left to be desired. Indeed, with the goal of providing equal opportunities for arts and culture education for all Korean citizens, efforts have been made to emphasize the importance of arts and culture education through the introduction of programs in preschools and kindergartens. Unfortunately, there are many flaws in the discussions and methodologies adopted in the approach and directions taken in achieving this goal, with many of these issues being highlighted in the 2018-2022 Comprehensive Strategy for Arts and Culture Education. Regardless of the limitations in governmental support, there remain several small and large movements by those out in the field to revamp and improve upon arts and culture education in schools. The “Hello, Art Lab” project undertaken by the Chungbuk Cultural Foundation is an example of one of such movements for the research and development of arts and culture education.

Regionally Based Research and Testing

The Chungbuk Cultural Foundation launched its pilot project in 2017 along with the “2017 Chungbuk ‘Hello, Art Lab’ Ecosystem Strategy Establishment Study” to explore regionally-based arts and culture education from a long-term perspective. Starting in 2018, several labs, including the new organization development lab, the local outpost lab, the topic lab, and the teaching lab, were designed with specific roles as part of the implementation of the “Hello, Art” arts and culture education research and development support project. As implied by its name, this project is aimed at promoting cooperation between various organizations in support of regionally-based arts and culture education ecosystems, as well as at exploring various arts and culture education opportunities. The teaching lab provided a platform for teachers, artists, and organizations to solve issues confronted by existing arts and culture education programs in schools and to cooperate to develop better programs, with the ultimate goal of improving educational methodologies that can provide children with better access to the arts. These efforts and additional research to further expand such work have been continuously underway since 2017.
In 2019, five arts organizations and eight teachers participated in the teaching lab. As is the case with a lab, a distinctive research process was developed in advance with the following steps: ready, explore, jump, and together. Sung Jung-won, an installation artist and arts educator who completed a doctoral program in arts education, and Jung Chang-hwan, who has worked as a theater operator and educator since 2002, participated as program facilitators. Their participation in this research project further solidified the objectives put forth by the participating teachers and organizations, while also helping to create a space where each person could share their expertise and insights into any existing problems from their distinct points of view. They also conducted joint monitoring of the implemented programs and took responsibility for all contents of the research.

“In the case of elementary school teachers, there are a lot of subjects they have to teach, which often means that they do not have time to prepare lessons that foster creativity or provide artistic experiences. As for middle and high school teachers, music and arts classes have become cut back severely. This is why we need the programs provided by Hello, Art Lab. in order to provide students with adequate arts education.   Teachers and artists need to meet and discuss relevant school systems, methodologies, and philosophies altogether.”
– Jung Chang-hwan, teacher at Soi Elementary School, 2019 Teaching Lab Facilitator

“To be honest, there are not many artists out there who actually enjoyed attendingschool. (Laughs). As such, many of us are not familiar with schools and how their systems work. This often results in us making requests or demands that seem quite simple but, in reality, can lead to issues or disputes. Artists need to deepen their understanding of schools and the basics of educational systems in order to effectively contribute to them. The first step towards breaking down this barrier around arts education programs in schools is to cultivate frequent exchanges between artists and educators.”
– Sung Jung-won, Installation Artist, 2019 Teaching Lab Facilitator

Promoting Cooperation Over Functional Labor Divisions

The Teaching Lab provided a platform where participating artists and educators could identify problems and propose possible solutions, resulting in the following conclusion: that cooperation between these two groups, as opposed to the division of work between them, could result in the improvement of arts education programs in schools. With this in mind, in addition to the special lectures, camps, and presentations offered as part of Hello, Art Lab, workshops for teaching lab participants were held to develop a specific research design. Educators provided information on school systems, educational processes, and educational goals, and agreed that the arts should be a part of education. On the other hand, arts organizations provided information as to the various programs they had administered and provided their artistic guidance and expertise. Furthermore, schools later participated in the teaching lab to express their needs and concerns with arts education in schools, which were then used as the basis for matching the appropriate educators and arts organizations for collaborative efforts to address such issues. Funds were provided to cover expenses for the arts organization programs, with up to 20% of the total budget allocated to increase capacity to promote research and development and planning.
While this undertaking includes the designing and implementation of projects different from the existing programs, the teaching lab is also unique in that it places an emphasis on promoting collaboration between arts organizations and educators. Considering that not only arts education programs in schools are important, but also do they need to be slightly modified from their current state, educators and artists were provided with a platform to work together in improving the quality of arts education in schools, thus further increasing mutual trust between the two groups as more frequently they meet. In addition to six regular workshops and additional meetings for program development, phone calls, emails, and communication through social networking platforms took place. Participants dedicated as much time and effort as possible to sharing their experiences and knowledge. Based on the assessment of each person’s unique expertise, the participants took on the necessary roles to plan and implement a joint program.

“There is a noticeable synergy when artists who are especially enthusiastic to integrate their unique art forms with other activities and educators who expressly acknowledge and respect such uniqueness come together. It appears that mutual curiosity is helpful to the process. For those interested in human life, they can certainly have relevant experiences not only through artistic endeavors but also through education. By the same token, artistic and other unique values can be found in classes outside of arts education. Working together to identify that point of overlap is important.”
– Sung Jung-won, Artist

“If educators meet more artists and accept art into their lives, their classrooms will be even more valuable and become a more natural part of daily life. I was not only interested in the Hello, Art Lab for its implications in creating a cooperative system between artists and school teachers, but also for the deeper meaning behind expanding the horizons of the participating educators. It is my sincere hope that they will take the time to broaden their way of thinking and change their perspectives when it comes to teaching in the classroom.”
– Jung Chang-hwan, Teacher

School-Arts-Education: Planning and Expanding the Study

The partnered artists and organizations and educators analyzed their respective subjects and came up with actions to be taken and designed into programs that are held over the course of six to eight sessions. Then, during the second semester, from September to November, they implemented these programs at schools. While the program planning process was not free from instances of trial-and-error, the response from students and the school overall were highly positive. Participating educators and arts organizations were satisfied with their efforts in exploring new possibilities and expressed their willingness to continue the study. While the fact that these participating groups worked together to create such integrated programs was in itself an accomplishment to be proud of, it was even more remarkable that the level of completeness and room for further improvement of these programs also led to the introduction of other commendable programs.

Despite the fact that the process was difficult, participating arts organizations and educators continued to work together for two to three years in order to find the crucial overlap between arts and education, with some instances of financial support partially provided by schools along the way for the implementation of programs that needed assistance. Buyung Elementary School, which applied for the Arts Flower School support program with the intention of participating in the teaching lab, was selected as an operating school in 2020. Over the past three years, the number of integrated arts education programs that were introduced through the collaborative efforts of arts organizations and educators is quite impressive.

The question that remains is what the next step is in continuing the hard work and meaningful results achieved by the teaching lab. For arts organizations, the unfamiliar circumstances of meeting with educators and schools to collaborate on the development of programs requires a relatively greater level of energy when compared to that needed for other projects. This is especially true when considering that every year, they are expected to develop new programs for different schools, different grade levels, and different subjects. Educators also face similar difficulties in that they must sacrifice time otherwise allotted for class, student guidance, and administrative work for training and other program-related activities that are not reflected in their overall performance assessments as teachers. Furthermore, although schools might hope that educators will learn how to conduct and manage these new programs efficiently, they might not be as open to the implementation of all the artistic programs conducted by various participating artists.

However, both educators and artists certainly do not want any of these programs, which they worked so hard to develop, to go to waste. More than anything, they must work to find a way to continue such experimental work by providing opportunities for other arts organizations and educators who agree with the project’s fundamental concept that arts education in schools must change and, thus, enable them to work together to develop better methods of education.

“Many arts organizations were concerned that these programs would become one-time only experiences. It just seems like such a waste when I think about all the time, energy and effort that arts organizations and educators put into developing programs that are only held six to eight times at a given school before new programs need to be developed. For the sake of continuity, although there is a lot that needs to be taken into account, I believe that we should consider exploring options such as educator training or follow-up research.”
– Sung Jung-won, Artist

“I believe that the arts are not only limited to fine arts and music studies, but should also be present in language and mathematics as well. Only then can students actually enjoy reading books and poetry and understand that at the core of language, art and the ability to express oneself in writing lie, rather than simply reading and analyzing passages only to memorize the author’s intended message. Ultimately, I think it would be beneficial to have someone assigned to each school with the role of coordinating all aspects of arts and culture education planning, either by strengthening the artistic capacities of educators or inviting artists to visit.”
– Jung Chang-hwan, Teacher

Students who were in the first grade in 2005, the year when the Support for Arts and Culture Education Act was adopted, are now either about to graduate from university or begin their working life. It will not be long before those directly impacted by the policies supporting arts and culture education take the leadership roles in our society. Throughout the years, these individuals have participated in various kinds of arts education both inside and outside of school. As such, they have learned that there is no right or wrong answer when it comes to the arts and have experienced first-hand that the same principle can be applied to life itself. One can only imagine that the future world these individuals create will differ greatly from the world we know today. After all, isn’t that the reason why we have invested and continue to invest so much into arts education in schools?

“One day, a letter arrived from a future where humankind had completely disappeared. It was a call for help from earth’s last remaining survivor! The SOS asked to save the earth from abnormal climates, environmental pollution, disease, and other conditions that made the future uninhabitable for humans. The distress call was written in Morse code, and the children who received the message gathered in Bunker 465-16 to start a project to save the world. Would these children be able to preserve the beauty of the world in the future?”

Like the countless movies on dystopian futures and the utopian hope that human beings could protect the world from such a fate, this story begins with the question, “What could we do if it were us?” This was the theme for the imaginary “Bunker 465-16” scenario as part of the Kumdarak Saturday Culture School’s Dream Art Lab 4.0 program, which was developed and operated by the Total Arts Museum. The number 465-16 comes from the museum’s address, which, in this imaginary world, serves as the only remaining survival bunker in a world that has fallen in grave danger. Imagine, living a life isolated in a bunker! By sheer coincidence, this program seemed to predict the impact of the COVID-19 pandemic, which has resulted in the entire world’s current experience with isolation.
 

Starting with Questions, not Technology

The “Bunker 465-16” program explores artistic ideas in solving urban problems of the future by using artificial intelligence, augmented reality, smart farming methods, and sound technology. This program was designed with many complex goals and characteristics, with the most important of these being that it addresses the question of the convergence of arts and technology, as well as the relationship between the two in a new, technology-based society. As part of the Kumdarak Saturday Culture School’s Dream Art Lab 4.0 project, whose goal is to provide participants with a first-hand experience in creating convergent art, “Bunker 465-16” explores various technology and other channels related to the Fourth Industrial Revolution. This program played a crucial role in the project identity of the Total Arts Museum particularly in the steps taken to interpret technology and the arts and determine how to implement them in the program’s design.

“Considering that there are already many workshops that teach technology, we wanted to create something different, an interesting story of our own.” This was the starting point for curator Shin Bo-seul, one of the coordinators of the program. She emphasized that, in the field of convergent arts and culture education, asking questions was more important than teaching technology. In other words, she aimed to design a program in which participants were prompted to consider technological advances that transcended common imagination and ask themselves what such technology is, how it works, why it is necessary, and to what extent it would be used.

Upon arriving at the bunker, the participating students receive a survival kit and begin their life in isolation. They meet a friend operated by artificial intelligence, create a futuristic chatbot, grow their own crops for survival, and craft instruments out of various tools. Experiencing such an environment for the very first time, the children explore different ways of living, experiment, and have fun. The series of events that comprise this program are conducted within this bunker setting, where technology is not designated as technology in advance. Just as the sounds of a given instrument can be mimicked in everyday life once the principles of that instrument are explained and understood, the use of new technology is a natural process of repeated testing, understanding, and putting that understanding into practice. It is through this process of asking questions and seeking out answers that the participants predict and imagine life, our senses, and our bodies in a technology-based society. Just as the history of the arts demonstrates, artists and arts and culture education has consistently been at the center of such creative thoughts and imagination.
 

Free Exchange between the Arts and Technology

Another objective of the “Bunker 465-16” program is cooperation and communication through various channels. The program’s design prompts participants to consider how they will live and work together with their connected friends while freely communicating and exchanging in various forms of exchange with them. While inside the bunker, exchanges are not limited to those with human friends alone. The participants become friends with machines and even make their own machine friends at times. They also coexist and communicate with plants, light, inanimate objects, and imaginary objects. For example, by attaching a Morse code communicator to an artificial light producing device, the participants can read the feelings of the plants growing within the bunker, which does not receive any natural sunlight. The communicator serves as a sensor that can translate messages sent between the light and the plants in their respective languages. Video messages sent from extraterrestrial friends named Arr and Brr further spark the imagination and create an immersive world beyond a future in danger and the bunker to which the participants are confined. As part of this project, participants work together with these virtual friends to save the world.

Through this free exchange, without any barriers whatsoever, participants experience first-hand the power of technology as a tool for communication. Various technologies and media enable communications with certain parties, which enables participants to understand them without any form of discrimination and, thus, experience a new way of life. By providing opportunities for exchange, participants can escape the stifling isolation of the bunker, turning into a space where they look out for one another in a dangerous world. The “Bunker 465-16” program comes to a close with a beautiful message sent to the future earth, questioning the value and understanding of all forms of life and the importance of working together.
 

Arts Education: A Product of Cooperation Among Artists

The biggest difference between the “Bunker 465-16” program from other technology convergent arts education programs is that no technical experts are involved in the development and management of the process; rather, the entire program is conducted by artists working together. It is a product of cooperative efforts between media artists who created programs with technology they use on a daily basis, children’s authors who wrote a story, visual designers who created characters, video experts who created videos, and photographers who handled all of the photography. The participating artists were all experts in their respective fields who had a firm grasp on the technology unique to their line of work. These artists are individuals who use and experiment with new technologies in order to explore their impact on our lives, senses, and relationships. As such, their final products are a condensed version of various technical media and extensive consideration that passed several trial-and-error attempts.

The methodology behind this program’s development, which, per the discretion of the coordinator, was led by artists and not technical experts, stems from the understanding of artists as interpreters and translators between the languages of technology art. There have been many attempts and resources exhausted in understanding the differences between experts in scientific technology and experts in arts and culture, only to confirm that their languages are distinctively different and suggest that their applications must remain separate. Despite such circumstances, the progression of dialogue between technology and the arts is crucial. To that point, Shin believes that children must experience arts and culture education programs that have been designed with a capacity for communication that bears a complete understanding of technology.

Even if programs are designed and implemented through collaborative efforts among artists, that is not to say that they are readily completed and understood. The process of creating a program involves countless hours of dedication and constant communication and exchanges of ideas and concerns. However, for artists, taking part in this process and coming up with such ideas is not merely a means of project development, it is also a means of creating something brand new. In other words, it is a process that implements the artists’ strongest assets. In turn, one could say that the build-up of communication skills resulting from these artists’ long-time collaboration serves as the arts museum’s greatest strength.
 

Freedom: Exciting, Unpredictable, and Thrilling

“Bunker 465-16” is a collaborative project-type program based on an imaginary story. As part of this story, participants undergo a series of diverse missions that prompt them to think about issues regarding future technology, people, and environments. This story stimulates the participants’ imaginations and motivates them to complete the project on their own. Furthermore, there is a boulder located in the exhibition space that serves as an entrance, with the stairs of the museum modified to give the participants a new environment that can be perceived as reality. Within this structural design, the rest of the details are created as a result of cooperation between the participants, artists, and mediators. This process-oriented, project-type program gives participants various choices and the freedom to choose from them, thus presenting a method of education that highlights the direction and value of technology convergent arts and culture education.

In 2019, the program was designed by the participants, who also held an open exhibition. However, the conclusion was that there was not enough time available to adequately experience and engage in creative activities. Taking this concern into consideration, the story for this year’s program is expected to place a greater emphasis on exploration and expand upon testing out a less structured form of educational methodologies. 2020’s season two program, titled “Bunker 465-16: The Philosopher’s Stone”, introduces a stone that is often found in science-fiction movies, cartoons or medieval tales of alchemy, thus adding a greater sense of fantasy to the story. Although the participants at first believe themselves to be the sole survivors in the bunker, one day they receive a message from another group of survivors asking for help. In response, the participants must create emergency kits and a boat in order to go rescue them.

Unique to this year’s program development is that participants will not collectively experience the same program. Instead, they will be divided into groups, where they will discuss among themselves to come up with and implement different rescue methods. As such, the program begins with groups gathering tools and instruments from a pantry to create their own kits with necessities. Also, this year’s program will include many more opportunities for debates, persuasion, and other important decisions. In order to make this happen, content regarding the story and technology use will be made beforehand and installed on a tablet, which will be provided to participants. Using GPS technology, the participants’ exploration and decisions will determine the paths that they will take throughout the course of the program. With this educational structure, the workshop can be conducted without a mediator, regardless of where the participants are located. This solves many of the pre-existing limitations with time and space and opens the door for more possibilities. One of the technologies implemented in this program is 3D printing. Depending on the selected module by each team, various pieces are matched together to produce a complete boat. The 3D printer also embodies the changes undergone by a scale economy that has lost the power of mass production.

From an educational perspective, this method of teaching is exciting in two different days. One way is that the children, not the educators, stand at the helm of decision-making and create a world based on their own senses and interpretations. Another way is that they enter the program without knowing what decisions they will have to make or what they will need along the way, thus presenting a feeling of danger. However, this excitement can also be considered a tool for providing participants with the freedom to find their own paths and fail in their technical experiments. In other words, it presents them with the freedom to find themselves.
 

The Arts Museum and Participants Grow Together

One of the most important possibilities that the Total Arts Museum hopes to gain through this program is the opportunity to build a relationship with today’s youth. In the past, the arts museum mainly presented difficult media art through exhibitions and children shared a rather distant relationship. However, with the introduction of this program, children began to learn more about the arts museum, and the arts museum learned more about children. This was not simply the discovery of a new audience; rather, it was the start of a system of trial-and-error that helped the institution better understand how childrenapproached the museum and its artworks, as well as how artworks are presented and used. At the same time, the museum learned how to communicate with its audiences through its artworks.

Implementing a communication method that does not simply entail reading a critic’s or commentator’s explanation of an art piece but, rather, encourages audiences to observe and understand art on their own ultimately strengthens our artistic capacities. Curator Shin Bo-seul emphasizes that artistic capacities are crucial for survival in the unpredictable world of the future. In order to become familiar with technology, we must first become familiar with the arts. On that note, Museum is an experimental space that imagines the future and strengthens one’s creativity, sense of balance, and artistic expression. Furthermore, by participating in the program, children become partners that help the arts museum grow and develop once more. It is our sincere hope that the seeds of such a relationship will grow into flowers of various colors, bearing fruit that will serve as sources of happiness and strength in our lives.
 

Hyeon Hye-yeon

Hyeon is an arts and culture education coordinator. With a great interest in people, she studied social welfare, photographic art, and anthropology. In 1997, Hyeon began her journey in the field of arts and culture education with a photography camp for children. Now, she is a photography and videography professor at Joongbu University in the Department of Cultural Content. She also serves as the head of the Center for Arts and Culture Education, where she devotes herself to arts and culture education and the fostering of human resources in the field. She conducts various studies on arts and culture education, including the development of the Kumdarak Saturday Culture School, arts therapy programs, and arts and culture education programs for middle-aged audiences, all of which are offered at the local level. Hyeon also continues to make contributions and study various subjects in the field.
 

The changes in technological outlets due to the Fourth Industrial Revolution has coincided with the increase in no-contact systems and online activities due to the COVID-19 pandemic, thus marking an important turning point in arts and culture education. The introduction of online-based educational systems is not a temporary replacement for in-person education. Rather, this is an invaluable opportunity to realize the three-part arts education development plan outlined in the Seoul Agenda, which was formally adopted at the 2011 UNESCO General Assembly. This plan sought to achieve the following: universal accessibility, qualitative improvement, and the expansion of social values. On May 27th, the KACES Information, Research and Development Center held the “Panel Discussion on Online Arts and Culture Education” with arts education experts to explore perspectives and circumstances regarding online education and their practical models.
 

In her discussion titled Thoughts on Online Arts and Culture Education for Future Education, Young Baik, a professor at Kyunghee University’s Center for Arts & Cultural Management, argued that arts and culture education leads to the discovery of new subjects based on the unique aspects and accessibility of culture and the arts, all of which starts with its encouragement of face-to-face participation among those involved. Online education is an opportunity to change and expand existing educational methods. As such, it requires a platform that ensures competitiveness and reflects strengths and characteristics of public access at the policy level, expertise in arts and culture, and accessibility of education. Most importantly, this new platform must allow for a diverse group of participants who, with an understanding of said platform, can work together to share their own unique content. Content planning is another important part of this platform; it must have the capacity to record and contain the daily lives, processes, and actions of individuals involved, beginning with their new approaches toward and creative ideas on arts education when formulating online arts experiences and integrative activities. Cooperative efforts between these various agents and capacity building for situations that integrate new outlets based on an understanding of the fundamentals of the arts will lay the groundwork for a new source of growth in this area.
 

In his discussion, The Circumstances and Obstacles of Online Arts and Culture Education in the Field of Visual Media, Professor Kim Suk-Bum of University of Suwon’s College of Arts and Culture stated that, as opposed to the thriving nature of education in the private sector, the public sector, in response to circumstantial changes, still requires the establishment of paradigm for educational content that is appropriate for online applications. He continued to explain that, considering that the majority of today’s generation receives information from the Internet, there is a need for media literacy education that can build capacities for critical thinking. For the long term, Kim stated, there is also a need for infrastructure that outlines a set of educational goals in response to changes over time, along the need for the development of educational content.
 

Professor Yang Ji-yeon of the Department Curatorial Studies and Art Management at Dongduk Women’s University presented on the current circumstances and obstacles in the field of visual arts in her discussion, titled The Circumstances and Obstacles of Online Arts and Culture Education in the Field of Visual Arts. Over the years, visual arts have emphasized the importance of face-to-face communication and experiences based on seeing things directly and visual impressions. Recently, digital content and online education has been implemented in the field of visual arts, resulting in more attempts to improve not only spatial and temporal accessibility, but also improve self-driven interactions among learners. For example, when considering arts institutions in ROK (Seoul Foundation for Arts and Culture·National Museum of Modern and Contemporary Art·National Museum of Korea·Savina Museum, etc.) online arts and culture education can be categorized, respectively (platform based, learning based, interaction based, immersive content-based). Depending on educational objectives and the student demands, these teaching paradigms can be integrated with or modified into other ones. Content that can shift education from offline to online; the establishment of an integrated content platform; digital literacy education; and student-teacher and student-student interactions are all essential components of online visual arts education. Yang stressed that online education should go beyond simply replacing face-to-face education, thus requiring the exploration of its own unique philosophies and methodologies.
 

Humanities College of Kyunghee University professor Cho Eun-ah gave a presentation titled The Circumstances and Obstacles of Online Arts and Culture Education in the Field of Performance Arts, in which she stated that domestic performance arts has been oblivious to the digitalization of the classroom and the theater. As opposed to audiences and students, artists and educators have been unable to break free from the traditional paradigms of theaters and classrooms. Along with the gradual acceptance of these limitations, attempts are being made at online models of performance arts. Lessons that were mainly conducted face-to-face are now being shifted to online programs (although they are still in their nascent stages and focus mainly on technical applications), and classes that simultaneously implement practical and theoretical approaches to education are incorporating visual resources, such as images and animations, to improve musical understanding. Through the Internet, chamber music, orchestra, and choirs, which involve the combined efforts of several individuals, are slowly involving into a “mosaic ensemble” in which everyone creates music together. Professor Cho also shared interesting research results from a study on the state of online performances as a result of the COVID-19 pandemic. For the purpose of this study, she surveyed 150 music lovers and 208 university music majors on their experiences with online performances, the appropriate amount of time spent focusing on online performances and others. The results of the study demonstrated a positive outlook that the increased interest of audiences in online performances as a result of the pandemic would carry over to the physical theater in the future.
The circumstances of performing arts have changed, yet the fascination of audiences has stayed the same. Now, more than ever, self-reflection on ways to integrate technology and the humanities is crucial. These traditional examples demonstrate that, although we are physically separated from each other, we can grow closer to each other emotionally. This concept lies at the core of no contact culture and, while seemingly paradoxical, emphasizes “connections” above all else.
 

Taking all this into consideration, what are the feasibilities and limitations of online arts and culture education? When it comes to feasibility: ▲ positive responses and interest toward online arts and culture education in the digital generation are expected▲ the development of digital media can help expand possibilities for online education ▲ online platforms can overcome limitations posed by different regions and social classes by providing universal access to education.
As for limitations:▲ limitations due to the inability to experience, express, and understand art through physical contact▲ limitations in the impact of arts education in emotions, understanding, cooperation, and other aspects that relate to human interactions ▲limitations in ensuring the qualitative value of arts and culture education ▲concerns that diversity in arts and culture education might be hampered by the fact that emphasis is placed on user interest over educational value ▲ concerns over differences in the capacities of instructors that will simply maintain the inequality of the status quo. Currently, the greatest obstacle in the implementation of online arts and culture education is the lack of infrastructure needed to conduct online education. Furthermore, there is great disparity among the digital capacities of students, along with a lack of instructors familiar with online education and adequate teaching methods. The panel discussion closed with the conclusion that, in order to promote online arts and culture education based on the details above, the following steps need to be taken: ❶ revision of legislation ❷ efforts to improve accessibility of online arts and culture education ❸ establishment of an online arts and culture education system (platform) ❹ ongoing efforts to develop various content for online arts and culture education ❺ development of quality educational methods ❻ comprehensive training for educators ❼ establishment of a cooperative network.