대학로 문화지구 발전을 위한 정부와 민간 협력체계 연구
저자
발행사항
서울 : 동국대학교, 2012
학위논문사항
학위논문(석사) -- 동국대학교 문화예술대학원 예술경영학과 공연예술경영전공 2012
발행연도
2012
작성언어
한국어
KDC
600.15 판사항(5)
DDC
353.7 판사항(21)
발행국(도시)
서울
형태사항
iv, 78장 ; 26 cm
일반주기명
참고문헌: 장 62-66
DOI식별코드
소장기관
The purpose of this study is to cast light on a cooperative system for the cultural district in Daehakno Street. The Daehakno Street has significantly developed since it was designated as a cultural district in 2005. For example, the Street has seen the Hanguk Performing Arts Center and the House of Artists established. In addition, it is equipped with the Korea National Archives of the Arts and a plethora of theaters. In short, the Street has the cultural infrastructure for a variety of performances. A look back at the period of from 1995 to the early 2000s, for which it was a hot issue how the Street could have the infrastructure for performance arts constructed, tells the Street experienced a remarkable growth in the cultural infrastructure of performance. If so, who have made this change at the Street? Who have influenced it? Who have controlled it? What model can explain the cooperative system among important doers that has influenced the development of the cultural district? This study aims to find out the answers to these questions.
In order to cast light on the cooperative system for the development of the Dahakno Cultural District, this study classifies the relations between doers into three units: "Government Sector ? Government Sector", "Private Sector ? Private Sector," and "Government Sector ? Private Sector". And it analyzes the role of their interaction and the limits.
To begin with, the government sectors have made a pivotal contribution to the establishment of the institutions for the cultural district at the Daehakno Street and financial support. In the 1990s, the problems of excessive commercialization and raise in rent which brought difficulty to the management of small theaters stood behind the development of the Street. In order to solve these problems, the government sector established such institutions for cultural districts as "Clause 2, Article 10, Culture Art Promotion Act" by Ministry of Culture and Tourism, "Ordinance on Seoul Cultural District Promotion and Management," "Plan for Management of Cultural District" by Jongno-gu Office. These institutions have provided cultural facilities and businesses in cultural districts with benefits like exemption from taxes and burden charge, which relieves the small theaters? operational burdens. The central government?s acts, local governments? ordinances, and sub-local governments? management plans have come to support the development of the Cultural District at Daehakno Street, which have maximized the effect of support. And "Clause 2, Article 10, Culture Arts Promotion Acts" by Ministry of Culture and Tourism laid the basis for "the Ordinance of Seoul City Culture District Nurture and Management," which served as the guideline for the "Management Plan of Cultural District at Daehakno Street" by Jongno-gu Office. And the results of the projects for Cultural District at Daehakno Street are reported in the reverse direction to the above-mentioned order. This indicates that these three axes construct a cooperative system for the development of the District.
However, the role of the government sectors and the cooperation between them alone cannot give enough explanation of why and how the Cultural District has developed. It is because the government sectors are not the producers of cultural contents, or core resources of the Street. Accordingly, it is true that the private performance arts associations have played as key a role in the development of the Street as the government sectors have done.
The private performance arts associations cooperate with each other for a variety of cultural projects. Internally, they produce information and communicate it to their members. They encourage their members, based on the information, to take active part in their own performance arts events, a campaign against illegal street-selling activities and illegally calling in customers, a campaign against pornographic performance, an open-air meeting for proposals to the government and a discussion meeting. On the other hand, externally, the private performance arts organizations ask other private performance arts associations for cooperation for their own planning projects. In December 11, 1999, the National Theater held an open discussion meeting for the "Development of Plays" asked by the Korean Actors Association, which is a good example of cooperation between private sectors. At that time, the Korean Actors Association maintained that the central government should act to support actors, focusing on the fact that they live on the least living expenses and thus suffer from poverty. The Korean Actors Association asked the National Theater for cooperation, which held the meeting, in December 11, 1999, to make the problem open to the public.
However, likewise, the role of the performance arts associations and the cooperation between them alone are not enough to explain why and how the Cultural District has developed. In the situation in which it is impossible to depend just on their member fees to operate the private performance arts associations, the financial support by the government accounts for a significant part of their associations? budgets. This shows that the operation of private performance arts associations cannot be independent of the government?s influence. Consequently, with a view to casting light on the cooperative system for the development of Daehakno Street, it is necessary to cast light on the cooperative system between government sectors and private sectors, or the last puzzle of the development of the Cultural District at the Daehakno Street.
The cooperative system between government sectors and private sectors is divided into the cooperative systems before and after the institution of the Cultural District at Daehakno Street. To begin with, the private-government cooperative system before the institution of the Cultural District at Daehakno Street shows itself in the process of the establishment of the institution of cultural district. A look at the flow of the establishment of the institution of cultural district shows that a private performance arts organization?s raising questions were followed by the examination by the local government (Seoul City) of a special cultural district, followed by the central government?s promotion for the establishment of acts for a cultural district, followed by activated discussion meetings between private sectors and government sectors, followed by the revision by the central government (Ministry of Culture and Tourism) of the existing Culture Arts Promotion Acts, followed by the creation by the local government (Seoul City) of the ?Ordinance of Cultural District?. Put another way, private performance arts associates raised questions about the crisis of the commercialization of the culturally overcrowded area; in turn, the government sectors promoted the policy for cultural district, in response to the raised questions. This informal network between government sectors and private sectors had a great influence on the establishment of the institution of the Cultural District at Daehakno Street afterwards.
Next, the formal network, or the cooperative system, began to function after the ?Management Program of Cultural District at Daehakno Street? was confirmed. This private-government cooperative system gave a successful appearance in the process of the designation as recommendable facilities and the financial support like loaning. The government sectors laid the foundations for financial support such as exemption from taxes and burden charge by establishing "Clause 2, Article 10, Culture Art Promotion Act" and "Ordinance on Seoul Cultural District Promotion and Management." In order to implement the two acts, the government sectors started "Daekakno Street Cultural Street Development Commission." The Commission was a formal private-government cooperative system composed of government sectors, private performance arts associations at Daehakno Street, local merchant organizations, and related organizations. The Commission assumed the tasks of inspecting a recommendable district that is to be exempted from taxes and burden charge and evaluate organizations that want to receive ?loaning? support.
As seen above, the development of Cultural District at Daehakno Street has come against the backdrop of the cooperative system between government sectors and government sectors, between private sectors and government sectors, and between government sectors and private sectors. However, this cooperative system has not reached a mature stage yet. Most private performance arts associations, except the National Theater and the Korean Actors Association, was established into 2000s. The Seoul Actor Association and the Korea Small Theater Association, which are evaluated as relatively sound, were established in December 2003 and December 2000, respectively. Only after the Cultural District at Daehakno Street was brought into existence did the formal network between the government sector and the private sector begin to function well. It follows that with a view to the development of the Cultural District at Daehakno Street, there should be a more strengthened cooperative system between government sectors and government sectors, between private sectors and government sectors, and between government sectors and private sectors.
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