수요자 지원 사업으로서의 '사랑티켓' : 그 현황분석과 개선방안에 관한 고찰

박희영 영남대학교 조형대학원 2009 국내석사

수요자 지원 사업으로서의 ‘사랑티켓’ - 그 현황분석과 개선방안에 관한 고찰 - 박희영 영남대학교 조형대학원 예술행정학과 예술행정학 전공 지도교수 민 주 식 국문요약 사랑티켓이란 문화사랑티켓의 줄임말로 보다 많은 사람들이 문화예술을 접할 수 있도록 연극, 무용, 음악, 뮤지컬 등 공연예술 관람료와 전시관람료 일부를 복권기금과 지방정부 예산으로 지원하는 제도이다. 티켓가격의 일부를 보조해 줌으로써 많은 관객을 공연장으로 유도하여 사람들의 문화향수에 기여함과 더불어 공연단체에도 일정 정도의 수입을 확보할 수 있게 해주는 이중적 구조를 지니고 있다. 사랑티켓은 우리나라의 대표적인 문화예술 수요자 지원 사업으로 관객들로 하여금 지금까지 수동적으로 문화소외지역으로 찾아온 공연을 감상하던 입장에서 벗어나 적극적으로 자신이 원하는 공연을 찾아다니며 감상할 수 있도록 유도한다는 점에서 매우 큰 의미를 지닌다. 사랑티켓은 1991년 “연극영화의 해” 사업의 일환으로 ‘관객의 붐을 조성하고 결과적으로 참가극단에 대한 지원이 되도록 한다’는 취지에서 시작되었으며 2001년부터 지역사랑티켓이 본격화 되면서 지역의 확대, 사업방법의 개선, 지원대상의 변화 등 다양한 형태로 변화, 발전되었다. 사랑티켓에 대한 사회적 기대는 1990년대 초반까지 관객개발을 통한 공연예술지원으로 1990년대 중후반부터 2000년대 초반까지는 관객의 문화향수 직접 지원을 통한 문화향수 증진으로, 그리고 최근엔 복권기금의 속성을 이유로 문화소외계층에 대한 선별적 문화복지 지원정책으로 그 목적을 달리하고 있다. 이처럼 사랑티켓은 그동안 많은 시행착오를 거치면서 제도의 목적변화와 함께 많은 문제점들이 노정되었고 보완작업들도 있었지만 아직도 많은 개선과제들이 남아있다. 본 연구에서는 사랑티켓이 문화향수 지원을 통한 국민의 문화복지 증진에 기여하는 점을 강조하여 현재 소외계층에 한정하는 지원대상을 전국민으로 확대할 것을 주문하였다. 그 이유는 우리나라 대다수 국민들이 지역적 문화소외감을 느끼고 있으며 아직까지 문화예술을 향유함에 있어서 능동적이지 못하기 때문이다. 그리고 사랑티켓 제도의 장기적인 발전을 위해 복권기금에서 고정적인 사랑티켓 지원금의 확보와 함께 지방비의 비율을 높여 재원을 안정시키는 것이 중요하며, 기초예술(순수예술) 중심의 작품 선정을 통해 관객들에게 오락성만이 아닌 예술적 가치를 전달해야 한다는 점, 대중들의 사랑티켓에 대한 접근성을 높이기 위해 다각적이고 적극적인 홍보와 함께 문화예술교육의 필요성을 강조하였다. 문화복지적 차원에서 대표적인 수요자 지원사업인 사랑티켓은 공연예술 활성화와 시민들의 문화향수에 기여하는 바가 매우 큰 제도이니 만큼 정부의 정책적 지원과 함께 예술단체와 사랑티켓 주관처의 협력으로 지속 발전할 수 있도록 노력해야 한다. M.A. Thesis ‘Love Ticket’ as a user's application business -Consideration on it's present status and the improvement plan- Hee-Young Park Department of Arts Administration Graduate School of Art and Design Yeung-nam University (Directed by Professor, Joo-Sik Min) -ABSTRACT- ‘Love ticket’ as shortened words of culture love ticket is a kind of the system that pays the part of the admission fee of the performance arts and the exhibitions such as a play, a dance, a music and a musical with the local government budget so that the more people can enjoy the cultural art. As ticket price is aided, many audience can be induced to come to performance places which can not contribute to their cultural nostalgia but also help ensure a certain extent of performing groups' profit in two ways. It's meaningful not that audience passively appreciate the performance which approaches their estranged places as a part of support to users of cultural arts but that they induced to visit and enjoy actively performances which they want. Love ticket was started as a part of Play and Movie's Year business to promote audience boom and to help participating theatrical company and as love ticket is in a full stage in 2001 it is diversified with area extension, service method improvement and changes in aided targets. Love ticket improved and has improved as performance art aid with audience's development in 1990's, as cultural nostalgia boost with direct audience's nostalgia aids from 1990's to 2000's and as assorted cultural welfare assistance policies for the underprivileged in recent times. Thus love ticket through lots of tries and errors has improved with changes in polices and purposes but has yet to make itself better. Emphasizing love ticket's contribution to cultural welfare fosterage through its aid to the cultural nostalgia, this studies ask for extensions of aided targets from the underprivileged to people all around the country. The reason is that most of people in Korea feel alienated regionally and isn't active in enjoying cultural arts. It isn't only important that we ensure the love ticket aid fund regularly from the lottery fund but also that we stabilize financial resources as increasing local budget ratio and that we do public relations exercise in a progressive multilateral ways and educate cultural arts to increase masses' accessibility to love ticket. Love ticket, the representative service that aids users in terms of cultural welfare has the vast contribution to performance art activation and cultural nostalgia and so the government, the art society and the love ticket administering institute ought to keep on trying their utmost for its growth.

觀客開發을 위한 간접지원제도의 활성화 방안 : 사랑티켓 제도를 중심으로

林榮俊 동국대학교 문화예술대학원 2008 국내석사

Lately, Korea’s financial support for cultural arts has increased in size, source of revenue has expanded to the National Treasury and funds, and support bodies have diversified to the central government, local governments, private commissions, and other foundations. As financial support of performing arts is considered to be the defining factor of the direction a nation’s performing arts takes, there is a driving need for a more stable and practical system for support of cultural arts. Financial support for cultural arts in Korea has been carried out in two ways: support through Arts Council Korea in the private domain and the National Treasury support for both the public and private sectors. Direct governmental support has paved way for unprofessional bureaucratic practices and support of private sectors through liberal arts fund has done the same for biased distribution of petty funds. Due to such undesirable practices, importance of indirect financial support has come into prominence. Rather than directly supporting individual projects or organizations, helping organizations create works of higher quality and therefore expanding and maintaining the support of the audience have become a higher priority. If there were more interest in survival of art industry in the past, currently, with diversification of revenue source and expansion in the range of support, review of past support systems has under come close introspection. Efficiency of biased distribution of funds and unprofessional bureaucratic practices has become an important point to consider. Efficiency needs to be weighed from the consumer’s point of view. As an example of indirect financial support system, Sarang Ticket System is significant in the way that it has shifted the attention away from supporting the creators to the receivers-the audiences. The government implemented Sarang Ticket System in 1991 as a means to promote culture. Sarang Ticket System aims to heighten citizen’s enjoyment of culture by supporting part of the ticket price from lottery fund and local government budget, in hope to provide the audiences more access to pure forms of performing arts such as plays, dance performances, music, and traditional art. Residents of corresponding areas can purchase tickets for shows of pure performing arts at discounted price, and the difference (KRW 5000) is covered by the lottery fund and the local government budget. The purpose of this system is to develop the audience base by increasing the opportunities to experience and enjoy culture, promote local culture for performing arts organizations, vitalize performing arts through indirect financial support. Audiences are the artistic and financial backbone of longevity of performance and also the essential requisite for performance itself. Therefore, there is no doubt that Sarang Ticket System is an important policy that entices average citizens to theatres and turns them into faithful audiences. However, audiences are interested in only a few of the more main stream performances. If a policy does not cater to audiences’ taste and focus only on developing works of artistic nature, it will actually hinder the development of audience base. It has been 17 years since Sarang Ticket System was put into place. Since 2006, the policy has induced the matching funds method to the lottery fund and the local government budget and has selected businesses for each region accordingly. From 1991 to 2005, the policy stayed separated from the original management of Arts Council Korea and operation of Jo-eun-gong-yeon Man-deul-ki (literal translation: production of good performances) Commission and was co-managed and operated by Seoul Foundation of Arts and Culture and Arts Council Korea. However, upward revision of Sarang Ticket funding and implementation of purchase limit in October 2006 for reason of vitalization of the system produced many problems. In September of the same year, 10% of the total budget of KRW 5,000,000,000 in approximate amount of KRW 500,000,000 was spent on promoting Sarang Ticket. Soon after, a sudden increase in the number of members and end-of-the year circumstances resulted in exceeding the allocated budget for 2006. By agreeing to carry over the shortage to the budget of the following year, the affiliated organizations managed to temporarily patch the shortage but the underlying budget shortage was yet to be solved. Since April 2007, exponential growth in the number of members and absurd shortage in funding limited daily number of sales, and this bought much resentment from both the audiences and the performing arts organizations. Such limitation resulted in failure to review the efficacy of the increase in funding (KRW 7,000) that was put into place 16 years after the inception of the system as a solution to daily quota, and this increase inevitably had to be changed in less than a year again. At the end of last year the business terminated and resumed in April of 2008 with a complete change in subject of the main beneficiary that had stayed the same in the last 17 years. For 17 years, any Korean citizen was an eligible beneficiary of Sarang Ticket System regardless of sex and age, but the current policy makes one wonder for whom the policy was created. Only 3 to 24-year-olds, senior citizens over 65, the handicapped, and those serving in the military are eligible. Sarang Ticket policy of 2008 defines these groups as people with limited access to culture. The reason behind current changes in Sarang Ticket policies is the underlying notion that lottery funding is generally utilized to support the culturally underprivileged. However, the current lottery and lottery funding law defines the sphere of support in two ways: welfare business for the culturally underprivileged and promotion of culture and art and preservation of cultural heritage. Although it is easy to ride off the definition as fund’s sole purpose being the support of culturally underprivileged class, the actual breakdown of expenditure of lottery fund business plan shows that it is not so. Lottery fund business plan supports 11 government ministries excluding the Ministry of Culture and Tourism for the welfare of disadvantaged and poor people: Ministry of Patriots & Veterans Affairs, Ministry of Gender Equality, Ministry of Gender Equality and Family, Ministry of Justice, Ministry of Education and Human Resources Development, Ministry of Health and Welfare, Ministry of Labor, the Commission on Youth Protection, the Office for Government Policy Coordination, Ministry of Labor, and Ministry of Health and Welfare. Ministry of Culture and Tourism only receives support for promotion of culture and art and not in relation to welfare business of culturally disadvantaged class. Culture becomes meaningful not only when it is being created but when everyone can enjoy it together; Sarang Ticket System was created to support the audience for this exact purpose. With any policy, the first priority should be the beneficiary. Principle behind carrying out any policy should be prioritization of policy implementation for the consumers of those policies. Without a careful analysis of the users of the policies, policies’ effectiveness will not only be reduced but also the existence of such policies may be put into question. It is doubtful that the current Sarang Ticket policy devoid of the original principle will in fact bear any practical results. Short term and long term amendments are recommended for reformation of Sarang Ticket System. First, in the short run, Sarang Ticket selection process needs to be strengthened through diverse and careful reviews in order to choose high quality works. Second, division of sales needs to be restored in order to utilize Sarang Ticket to its full potential when the fund runs short. Third, customer service needs to be strengthened through various applications that are appropriate for the current flow of time. In the long run, first, the leading organization needs to become a corporate body so that all the policies can be carried out with transparency. Second, revenue sources need to be fixed in order to sustain stable funding. Third, liberal arts fund needs to be reinstated to secure a stable funding. Fourth, instead of frequent changes in cultural policies, government agencies need to be enacted so that the practical effect of policies can be recognized. Last, through private and corporate support, investment needs to be induced. Sarang Ticket of year 2008 came about due to budget shortage if the reformation proposals above come into play, Sarang Ticket will no longer require any justification.