문화예술계 블랙리스트 작동 방식에 관한 연구-연극계를 중심으로

The blacklist case in the culture and artistic field was a large-scale national crime made with close cooperation between the Blue House, the NIS, the Ministry of Culture, Sports and Tourism, and the Arts Council Korea. The plans of government organizations to activate the blacklist were quite elaborate.
In this paper, I would like to study in phases how Park Geun-Hye’s Government's serious unconstitutional national crime, culture and art blacklist were operated. The representative types are 1) Disclosure of unfavorable information, multi-level strategies, 2) direct exclusion request to written pledge of abandonment, 3) prior consultation for exclusion scenarios with the deliberation committee, 4) operation and exclusion of self-censorship.
The execution of the blacklist can be seen to have changed slightly as it encountered several levels of resistance. According to the investigation by the Blacklist Fact-finding Committee, this change in the way the blacklist works was being carried out very carefully without the culture and artistic circle noticing. In the early stages of implementing the blacklist, the government operated the blacklist on the committee members to create an advantageous atmosphere for excluding the members on the blacklist, and the managers of each support project mainly used the method of leaking information unfavorable to the organizations to be excluded. When groups excluded by such methods protested or members of the deliberation committee protested, they openly pushed the exclusion list to ask for cooperation by as if pleading for it or secretly threatening that the project itself can be abolished.
On September 9, 2015, when the allegations of censorship were finally revealed to the media, employees under pressure activated self-censorship to exclude people or works that were not even on the blacklist. The first change in the system proposed by the Arts Council to conveniently operate the blacklist was to abolish the ‘committee-responsible review system’ in July 2015 and introduce a new ‘deliberation committee member-pool system’. They appointed pro-government deliberation committee members centered on cultural and artistic organizations and discussed exclusion scenarios in advance.
Furthermore, in realization of the support review method through the public offering system had been causing fundamental limit to the exclusion of the blacklist, the support system was reorganized to focus on planning projects for more fundamental exclusion. According to the 「Korean Culture and Arts Committee's reorganization plan」 for the Literature Fund Project on January 8, 2016, it clearly reveals its intention to reduce the number of small multi-purpose simple public offerings and strengthen the proportion of planned-public offering projects. In other words, since it is too cumbersome to exclude individuals and organizations who apply for support through the public offering system by cross checking the blacklist, and the delay in deliberation became too frequent, the art committee planned to change the support system itself to the planned project.
As of 2020, the damage suffered by the victims of the blacklist has hardly been recovered, and it has not returned to the art environment before the blacklist incident. Most projects that have been abolished or distorted by the operation of the blacklist have yet to be corrected. To facilitate the operation of the blacklist, the government abolished long-sustained public-offered projects and created new planned projects, which eventually resulted in damaging numerous artists who were able to produce their creations with even a small budget. The restoration of damage caused by the blacklist is difficult to move forward without a sincere apology from the perpetrators and the correction of the distorted system. This paper expects that blacklists will be the first to analyze the types and methods that worked in the performing arts field, which will be a useful foundation for identifying how blacklists work in other genres in the future.