창조도시 전략으로서의 문화예술교육 : 창조적 학습도시 발전전략에 대한 새로운 논의

이병준,박응희,박지연 한국문화교육학회 2010 문화예술교육연구 Vol.5 No.2

최근 창조도시논의가 활발해지면서 교육과 학습의 창조도시와의 연관성에 주목할 필요가 높아졌다. 2000년 이후 문화예술교육진흥을 위한 법과 제도가 정비되면서 문화예술교육이 학교와 사회속에서 확산되고 있다. 그러나 단순히 문화예술교육을 평생교육의 연장선속에서에 대한 논의하는 것도 의미가 있지만 문화와 예술을 기반으로 하는 도시발전전략인 창조도시와의 연관성속에서 바라보는 것도 흥미롭다고 볼 수 있다. 현재 창조도시논의는 크게 창조적 환경에 대한 논의, 창조인력에 대한 논의, 창조산업에 대한 논의, 그리고 문화발전에 대한 논의 네 가지로 전개되고 있다. 이러한 창조도시에 대한 논의중 문화와 예술을 경제에 활용하는 의미에서의 창조산업에 대한 논의가 가장 활발하나 이러한 논의는 매우 근시안적 사고라고 판단된다. 창조도시는 개별 도시가 가지는 자발적 시스템속에 창조성과 지역성, 네트워크와 미학화, 그리고 학습과 지속가능성이라는 핵심가치를 추구하고 있으며 또 그래야 한다. 이러한 측면에서 창조도시의 핵심가치는 바로 문화예술교육과 매우 밀접한 관련을 가지고 있다. 현재의 문화예술교육은 단순한 프로젝트성 보다는 창조도시를 만들어가기 위한 중요한 전략으로 인식될 필요가 있다. 따라서 문화예술교육은 장기적인 비전속에 지속가능성을 담보해야 하며 예술체험을 넘어서 문화역량을 강화하고 학습망을 구축하며 문화리더를 양성할 수 있는 방향으로 나아가야 할 것이다. As the discussion on creative city has become active recently, the necessary to pay attention to the correlation between education/learning and creative city was increased. While law and system for promoting Culture & Arts Education have been reorganized since 2000, Culture & Arts Education spreads into schools and society. However, it's meaningful to discuss Culture & Arts Education simply in an extension of lifelong education but it's interesting to examine it in the correlation with creative city which is a strategy to develop the city based on culture and arts. At present, the discussion on creative city is unfolded by dividing largely into 4 discussions; discussion on creative environment, discussion on creative man power, discussion on creative industry and discussion on cultural development. Among the discussions on creative city, the discussion on creative industry which means to apply culture and arts to economy is the most active but it is judged to be a very short-sighted thinking. The creative city is seeking core values such as creativity / regional characteristic, network / aestheticization and studying / sustainability in the voluntary system of each city as well as must to seek them. Those core values of creative city are related with Culture & Arts Education much closely in that aspect. Current Culture & Arts Education should be recognized by an important strategy for making creative city, rather than by simple project. Therefore, Culture & Arts Education must to guarantee sustainability in a long-term vision, strengthen cultural capability beyond the art experience, establish learning network and advance to the direction cultivating cultural leaders.

都市文化의 해석과 미술

윤범모 동악미술사학회 2010 東岳美術史學 Vol.0 No.11

조물주는 인간을 낳고 인간은 도시를 낳았다는 표현은 그만큼 도시(문화)에 대한 상징성을 강력하게 한 표현이다. 지구촌 시대의 도시화 현상은 날로 가속도를 보여 농촌의 空洞化현상까지 대두될 정도로 사회문제가 되었다. 근대성은 도시문화와 더불어 위력을 발휘하기 시작했고, 도시라는 새로운 시각현실 은 그대로 미술과 건축분야에 커다란 영향을 끼쳤다. 현대미술은 도시에서 형성되고 성장하면서 존재감 을 각인시키고 있다. 한국에서 도시문화가 본격적으로 형성되기 시작한 때는 1920-30년대이다. 일제 강점기의 식민지 도시 로 출발했기 때문에 나름대로의 문제점을 간과할 수 없다. 도시는 소비문화를 낳았고, 소비문화의 총체 는 백화점으로 상징되었다. 당대 문학에서 백화점 풍경이 즐겨 다뤄진 것은 시각현실의 변화와 맞물리는현상이다. 도시는 곡선의 자연을 직선으로 바꾸기 시작했다. 직선의 구체적인 산물은 바로 도로였다. 일제는 식민통치의 편리성 때문에 도로망 건설에 열중했다. 신작로라고 일컬어졌던 도로 건설은 새로운 풍경이었고, 도시는 도로를 중심으로 변화의 모습을 보였다. 1920-30년대의 도로망 건설은 곧 교통망으로 연결되었고, 이는 관광산업의 진흥을 불러왔다. 여행문화는 절경과 같은 자연이나 문화유산의 현장을 인파로 붐비게 했다. 명승지 중심의 관광문화는 미술 소재의 개발이라는 점에서도 새로운 경지를 안게 했다. 1920-30년대의 관광문화는 풍경에 대한 새로운 주목을 갖게 했지만 도시문화를 미술에 본격적으로 반영하기에는 아직 시기상조였다. 관점과 해석이란 개념은 매우 중요하다. 도시문화의 활발한 전개와 미술적 해석은 별개의 문제이다. 이는 마치 역사를 특정한 史觀에 의해 해석하고 기술하는 것과 맥락을 함께 하는 것이다. 이런 의미에서 도시문화의 미술적 해석은 매우 중요하다. 도시(문화)라는 소재의 해석 혹은 비판적 접근은 1980년대에 이르러서야 본격화되었다. 현실과 발언 동인 중심의 본격적‘도시 탐구’는 도시문화의 실체를 새로운 각도에서 해석하게 하는 촉매역할을 했다. 한마디로 요약하면, 한국의 경우 도시문화의 형성은 1920-30년대에 비롯되었으나, 도시문화를 미술가들 이 본격적으로 해석하여 작품화하기 시작한 것은 현실과 발언 동인이 활동하던 1980년대부터라고 할 수 있다. 이같은 時差의 결과는 당대 현실과 거리를 두고 미술작업을 하던 전통시대의 보수적 시각과 연결 된다. 달리 표현하여 리얼리즘 미술의 부진함은 곧 도시문화를 적극적으로 미술에 수용하지 않았다는 것과 맥락을 같이한다. 하지만 1980년대의 사회환경은 변했고, 특히 미술계 환경도 변화를 촉구했다. 도시는 이제 욕망의 집산지이면서 피할 수 없는 하나의 자연으로 위치지어졌다. 미술은 이같은 새로운 변화에 즉자적으로 반응하면서 시각현실의 조형화에 다양한 양상을 보였다. 현대 사회에서 도시는 또 하나의 자연이었던 것이다. The expression that God created man and man made a city is a significant symbolic articulation as to city (culture). In the age of global village, urbanization gathered speed every day to the extent that it became a social issue coming to the fore as deposition phenomenon in a farm village. Modernity started to held sway along with city culture and the city as new visual reality had huge influence on art and architecture as it is. Contemporary art imprints a sense of existence as it forms and grows in the city. Not until 1920s-30s that the city culture began to shape in Korea. Given that it started as a colonial city during the Japanese Colonial Rule, there were problems in its way. A city generated consumerism and a department store was a collective symbol of consumption culture. The fact that department store scene was frequently appeared in the literature of that time is interlinked to the transformation of visual reality. The city began to change curve lines of nature into straight ones. The road is a concrete product of that straight line. Due to the convenience in colonial ruling, Japan was impassioned in constructing network of roads. So-called newly constructed road was new scenery and the city started to show the look of transformation centering on roads. The construction of network of roads in 1920s-30s was tied to a traffic network bringing promotion of tourism. The sites of magnificent view or cultural heritage were crowded as a result of traveling culture. Focused on scenic spots, tourist culture opened up a new realm of development of subject matter for art. Although the tourist culture of 1920s-30s made pay new attention to scenery, it was too early to reflect city culture onto art. A critical approach to the subject matter of city (culture) was formed only in 1980s. Earnest ‘city exploration’by the member of Hyunsil and Baleon was a catalyst in understanding the truth of city culture from various points of view. To come to the point, the formation of city culture in the case of Korea has started in 1920s -30s but it was not until 1980s that artists began to investigate and employ city culture in their works, same period when Hyunsil and Baleon was active. The result of time difference like this is related to the conservative perspectives of traditional age when people worked at a distance from the reality. In other words, weakness of realist art is in keeping with the fact that it did not take an active part in conveying city culture on a picture plane. But the conditions of society have changed and especially the art world urged to change. Now the city is positioned as a trading center of desire and a certain nature which is inevitable. Reacting immediately to the new transformation as such, the art demonstrated different aspects of figuration of visual reality. After all, the city is another form of nature in modern society.

Research on Promoting Uijeongbu's Regional Characteristics and Cultural Arts Resources Using Digital Human Technology

서수연,류경근,소홍삼,정혜경,최에스더 한국비교정부학회 2024 한국비교정부학보 Vol.28 No.1

(Purpose) This study investigated the use of digital human technology as a way to not only preserve Uijeongbu's local culture and arts, but also to publicize the characteristics of the region and share the unique culture and arts of the region globally. (Design/methodology/approach) To analyze the cultural and artistic resources of Uijeongbu City, municipal overview and statistical data related to Uijeongbu City, data on cultural city selection, Uijeongbu Cultural Foundation, and Uijeongbu Art and Music Library were collected and categorized according to the purpose of the study. To promote Uijeongbu's local characteristics, culture, and arts to various countries, we used digital human technology to translate and then create digital humans. (Findings) Recently, Uijeongbu City was selected as a statutory cultural city and is transforming into a city that citizens want to stay in, with a vision of a city that citizens remember and citizens who prepare for the future. Uijeongbu is well equipped with various programs and large-scale facilities to support citizens' cultural activities. The Uijeongbu Art Library and Music Library are representative spaces, and with the belief that changes in space can change the culture of libraries, change the lives of citizens, and become a driving force for regional growth, they are positioning themselves as libraries where knowledge, culture, and relaxation coexist. It has gone a step further from the role of a public library and is making new attempts to converge culture and libraries as a public platform. (Research implications or Originality) The Uijeongbu Cultural City Support Center is conducting various cultural programs to promote the Uijeongbu Cultural City project after it was selected, and through this, it is expected to welcome an era of culture and arts where diverse cultures coexist, where artistic imagination and creativity blossom into culture, and where emotional communication is important, where youth dynamism and cultural diversity coexist. In order to create a cultural city where culture becomes life, the city is revitalizing the city by expanding various infrastructures in the cultural field and discovering and supporting cultural contents to reflect the creativity and emotional communication of various citizens. If digital human technology is well utilized to promote Uijeongbu's local cultural and artistic assets globally, it is expected that Uijeongbu City can become a center for local cultural arts where people can enjoy culture.

문화예술교육의 가치를 활용한 도시정책 사례 연구 : 성남시를 중심으로

박정현 한국문화교육학회 2015 문화예술교육연구 Vol.10 No.4

Until now, studies on urban policy has been consistent in individual observation of key words, learning city‧cultural city‧creative city, rather than focused on how learning, culture and creativity should be related under the fundamental frame of city. In consideration of realities, planning and practice of policy, integrative perspective or multidisciplinary approach which is positively necessary is lacking considerably, so it's currently more important to investigate interconnections and joint core value of learning city‧cultural city‧creative city. In this context, the purposes of this research are to emphasize that cultural artistic education can play important roles strategically in consideration of core values of the discourse about cultural city, learning city and creative city and suggest the grounds through the discussion about 'culture', 'education' and 'friendship' of G. Simmel. This research will select Seongnam-si as a city which displays urban policy with values of cultural artistic education and suggest the connection type diagram of cultural city․learning city․creative city policy at the scene of policy through the investigation of visions, politic goals, core values, subjects and fields of Seongnam-si. In addition, it intends to investigate the strategies and roles cultural artistic education is playing in urban policy of Seongnam-si. 문화예술교육은 도시속의 삶의 질과 도시의 경쟁력을 함께 추구하는 도시정책과 밀접하게 연결된다. 문화예술교육을 통한 시민문화‧조직문화의 생성과 문화역량에 기반을 둔 시민‧전문가의 성장 및 육성은 성공적인 도시의 조건이다. 그러나 아직도 우리나라의 문화예술교육 사업은 개인의 미적발달이라는 축소된 의미로 여겨지고 있어 도시와 공동체로까지 확대되어 이해되지 못하고 있다. 본 연구에서는 문화도시와 학습도시, 창조도시 등과 같은 도시담론들의 핵심가치를 관통하여 전략적으로 중요한 역할을 맡은 수 있는 것은 문화예술교육임을 강조하면서 도시관점에서의 문화예술교육을 ‘도시문화예술교육’이라 명명하며 그 의미를 살펴보고, 짐멜(G. Simmel)의 ‘문화’와 ‘교육’, ‘친교’에 대한 논의를 통해 그 근거를 제시하려고 한다. 그리고 본 연구에서는 문화예술교육의 가치를 활용하여 도시정책을 펼치고 있는 도시로 성남시를 선정하고 성남시가 추구하는 비전과 정책목표, 핵심가치, 주제와 영역들의 규명을 통해 정책현장에서 문화도시․학습도시․창조도시 정책의 연계유형 모형도를 제시할 것이다. 또한 성남시의 도시정책에서 문화예술교육이 어떠한 전략과 역할을 수행하고 있는지를 밝혀내고자 한다.

문화도시를 위한 사회참여 공공미술 - 서울 도시 갤러리 프로젝트의 패러독스: 포용 -

김미진 ( Kim Mijin ),왕연주 ( Wang Yeunju ) 한국영상미디어협회 2019 예술과 미디어 Vol.18 No.2

최근 정부의 문화도시 정책 기조는 문화를 통한 지속가능한 지역 발전 및 지역 주민의 문화적 삶을 강조하고 있다. 이러한 문화의 사회적 가치는 문화의 창의성을 활용하여 사회혁신을 제고하고, 문화예술을 통해 능동적인 참여와 소통에 다가가는 “문화민주주의”를 지향하는 추세에 있다. 이와 관련한 사회참여 공공미술은 그동안 문화도시 전략에서 활발히 전개되었지만, 사회적 가치의 새로운 의미를 부여하여 재차 관심이 집중되고 있는 시점이다. 그럼에도 불구하고 최근의 쟁점을 살펴보면 도시 정책의 문화적 전환을 배경으로 수행된 사회참여 공공미술은 사회재생의 효과를 위해 자칫 예술의 도구화를 야기하여 모순된 개입을 가속화시킬 뿐이라는 것이다. 이는 소외계층의 포용을 위한 사회적 혜택이 정책의 의도된 문화적 시혜라는 점에서 사회적 배제의 유효성을 연장하는 역설적인 상황으로 이어질 수 있다. 이에 본 연구는 문화도시 슬로건을 걸고 사회참여 공공미술을 수행한 서울시 도시갤러리프로젝트 사례에서 나타난 패러독스를 살펴본 것이다. 참여, 소통의 주체적 역량 프로젝트에서는 물리적 환경개선과 사회봉사적인 측면이 강조되어 예술적 가치의 격하를 가져오는 논의로 이어졌다. 사회연대의 공동체 활성화 프로젝트에서는 소극적인 주민참여로 실제 생활에 혜택이 되는 경영적 컨설팅의 경제적 활성화에 집중하는 상황을 감지할 수 있었다. 서울 상징과 시민 정체성 형성 프로젝트에서는 시민의 합의를 이루지 못한 가운데 도시관광의 상품화를 위한 전략으로 간주되어 갈등과 긴장 관계를 초래했다. 이를 통해 본 연구에서는 상호의존할 수 있는 포용적 관점으로 정책의 사회적 가치와 예술의 사회적 영향 사이의 균형을 찾는 것이 중요하며 이를 위해서는 리스크가 많은 누적 상태에서 모든 주체가 민주적인 의사소통의 합의를 이루는 수정화 기간이 필요함을 제안했다. 또한, 시민의 다양한 입장을 반영하는 측면에서 전형적인 수행방식을 넘어서 다양성의 관점을 포용하는 섬세한 기획과 진행 과정이 필요함을 제안했다. 따라서 사회참여 공공미술의 사회적 효용성과 미적 효용성을 끌어내 더 나은 더 나은 사회참여 공공미술을 설계할 수 있도록 유도하는 데 그 의의를 두고자 했다. The government's recent policy stance on cultural cities emphasizes sustainable regional development through culture and the cultural life of local residents. The social value of these cultures is on the trend toward "cultural democracy" that uses the creativity of culture to enhance social innovation and approach active participation and communication through cultural arts. Public art related to social participation has been actively developed in the strategy of cultural cities, but it is at a time when attention is focusing again on giving new meaning to social values. Nevertheless, the recent issue is that social participation public art, carried out against the backdrop of a cultural shift in urban policy, will only accelerate contradictory intervention by creating a tool of art for the effect of social revival. This could lead to a paradoxical situation that extends the validity of social exclusion, given that social benefits for the engagement of the underprivileged are the intended cultural benefits of the policy. This study looked at paradoxysms in the case of the Seoul City Gallery Project, which conducted public art of social participation under the slogan of "cultural cities." In the project of Juche competence in participation and communication, physical environment improvement and social service aspects were emphasized, leading to discussions that led to the degradation of artistic values. In the social solidarity community revitalization project, the government could detect situations in which it focuses on economic revitalization of management consulting that benefits real life through passive participation of residents. In the Seoul Symbol and Citizen Identity Formation Program, it was regarded as a strategy for commercializing urban tourism amid the failure of civic consensus, resulting in conflict and tension. Through this, it is important in this study to find a balance between the social value of policy and the social impact of art from an interdependent perspective, suggesting that in order to achieve a period of revision in which all subjects in a highly risk-laden cumulative state achieve a consensus of democratic communication. It also suggested the need for a delicate planning and progress process to embrace a view of diversity beyond a typical performance style in terms that reflect the diverse positions of citizens. Therefore, it wanted to bring out the social utility and aesthetic utility of the public art of social participation and put its significance on inducing the design of better social participation public art.

기초 단위 문화예술교육지원센터의 운영을 위한 실천 방안 연구: 창원시를 중심으로

이은지 한국국제미술교육학회 2022 미술과 교육 Vol.23 No.1

This is a qualitative study regarding the Basic Unit Arts & Culture Education Hub policy. As a citizen of my local region Changwon City, I investigated the current state of Changwon City’s Basic Unit policy and the needs from its users to suggest concrete directions in the planning for the future Arts & Culture Education Support Center. I first investigated the city’s infrastructure and programs related to arts & culture education, then I interviewed the current policy administrator and five participants who have been either a provider or recipient of the municipal Teaching Artists’ program, a core program to be carried out by the future Center. I also examined two other regions that have already established their own Arts & Culture Education Support Center for reference. As a result, I suggested a coordination system to activate the numerous local libraries that carries the city’s history along with high accessibility. Moreover, I suggested the center to establish connections with regional universities to neighborhoods in need for arts and culture education. Thirdly, establishing a system for experts to mentor and carry out professional development for the Teaching Artists was suggested. Fourthly, I proposed diversity of convergence in STEAM education and within the arts. Lastly, evaluation and research to actively engage citizens’ ideas in implementing the center’s various plans were proposed, in order to ultimately establish the center as a cooperating system mediating the government and citizens.

광주비엔날레 인력 구조 및 교육 현황을 통해 본 문화인력양성의 과제

천윤희(Chun Yoon hee) 한국예술경영학회 2006 예술경영연구 Vol.9 No.-

The Gwangju Biennale is an international event that exhibits contemporary art. In a broad sense, the Biennale is regarded as a complete product of contemporary culture and art that is generated through works of contemporary art. Consumers can experience a numerous amount of cultural services during the Gwangju Biennale. In as much, this also implies that the Gwangju Biennale should expand its horizons, up until now limited to professionals in the field of art. This action will foster local citizens to play specific roles in contributing to the Gwangju Biennale. They could provide a better understanding of Gwangju and the Gwangju Biennale while transforming the city and local culture surrounding the Biennale site into assets as well. The ultimate strategy is to foster “cultural mediators” at the Gwangju Biennale. By enhancing the means by which visitors can appreciate culture through creating a communication channel between cultural products and users through the cultural mediators, this will allow for users to create their own cultural knowledge base, layer by layer. In fact, when the personnel structure of the Gwangju Biennale is reviewed, hundreds of professionals who participate each year are building field experience, including the Secretariat staff, volunteers, docents, exhibit interns and assistants, installation and removal assistants, human resources for festivals, and other various areas. The event is shifting from an artist and curator driven function to a venue for cultural participation and a gateway and gathering place for many potential professionals seeking their life’s work in the creation of culture and art, cultural planning (production), and art administration. Meanwhile, training programs for specific targets are also offered by identifying pivotal areas where contemporary art and users intersect. They include art & film lectures, contemporary art classes open to citizens, the Docent Training Program (a curriculum training docents to help visitors appreciate exhibits), and a Teacher Training Program for art teachers. The Gwangju Biennale needs to take another look at the importance of “human-power development and education” while establishing a more comprehensive and integrated policy in the context of offering quality as a return to improve Gwangju’s local culture. It is hoped that those participating directly and indirectly in the Gwangju Biennale, which is considered a foundation of education and field training and a training center of culture-oriented personnel for Gwangju, will further educate cultural leaders and serve a lasting role in the successful hosting of the Gwangju Biennale. They will be assets to Gwangju, a cradle of culture, and the program can serve as a model for creating synergy.

문화예술 도시의 공간 콘텐츠 유형분석 및 비교에 관한 연구

조연(Cho, Yeon),문정민(Moon, Jeong-Min) 한국실내디자인학회 2011 한국실내디자인학회논문집 Vol.20 No.1

As urbanization has evolved, a number of cities have been engaged in building creative power through branding. Cities contain much creative space and creative space within cities develops them. Cities are connected with space, which have a great influence each other, in particular, in cities of culture and art. Space contents in cities have various forms and types and work as important factors for branding of cities. In this high-touch generation, cities of culture and art have special meaning in that design of emotional generation, and cultural meaning of tangible and intangible assets in cities are their competitive power and sources of high added value. The cities of culture and art are oriented toward creative future globally and nationally. In cities of culture which seek for urban development by excavating artistic meaning and value through artistic and cultural development, their cultural meaning itself can become a brand, which effectively leads to building creative cities and marketing of urban brands. This study aims to analyse cases of cities developed through discovering or reactivating art and cultural meaning and value of urban space based on urban space contents. Then it analyses through what urban image, brands and marketing space contents were developed and suggests necessity of space contents development in small and middle sized cities. Therefore, based on the cases of art and cultural cities developed depending on space contents, it analyses and differentiate their various types and contents, aiming to show that any cities can be based on art and culture and creativity depending on creation, regeneration and development of space contents.

문화예술교육의 가치를 활용한 도시정책 사례 연구 : 성남시를 중심으로

박지연 한국문화교육학회 2015 문화예술교육연구 Vol.10 No.4

문화예술교육은 도시속의 삶의 질과 도시의 경쟁력을 함께 추구하는 도시정책과 밀접하게 연결된다. 문화예술교육을 통한 시민문화‧조직문화의 생성과 문화역량에 기반을 둔 시민‧전문가의 성장 및 육성은 성공적인 도시의 조건이다. 그러나 아직도 우리나라의 문화예술교육 사업은 개인의 미적발달이라는 축소된 의미로 여겨지고 있어 도시와 공동체로까지 확대되어 이해되지 못하고 있다. 본 연구에서는 문화도시와 학습도시, 창조도시 등과 같은 도시담론들의 핵심가치를 관통하여 전략적으로 중요한 역할을 맡은 수 있는 것은 문화예술교육임을 강조하면서 도시관점에서의 문화예술교육을 ‘도시문화예술교육’이라 명명하며 그 의미를 살펴보고, 짐멜(G. Simmel)의 ‘문화’와 ‘교육’, ‘친교’에 대한 논의를 통해 그 근거를 제시하려고 한다. 그리고 본 연구에서는 문화예술교육의 가치를 활용하여 도시정책을 펼치고 있는 도시로 성남시를 선정하고 성남시가 추구하는 비전과 정책목표, 핵심가치, 주제와 영역들의 규명을 통해 정책현장에서 문화도시․학습도시․창조도시 정책의 연계유형 모형도를 제시할 것이다. 또한 성남시의 도시정책에서 문화예술교육이 어떠한 전략과 역할을 수행하고 있는지를 밝혀내고자 한다. Until now, studies on urban policy has been consistent in individual observation of key words, learning city‧cultural city‧creative city, rather than focused on how learning, culture and creativity should be related under the fundamental frame of city. In consideration of realities, planning and practice of policy, integrative perspective or multidisciplinary approach which is positively necessary is lacking considerably, so it's currently more important to investigate interconnections and joint core value of learning city‧cultural city‧creative city. In this context, the purposes of this research are to emphasize that cultural artistic education can play important roles strategically in consideration of core values of the discourse about cultural city, learning city and creative city and suggest the grounds through the discussion about 'culture', 'education' and 'friendship' of G. Simmel. This research will select Seongnam-si as a city which displays urban policy with values of cultural artistic education and suggest the connection type diagram of cultural city․learning city․creative city policy at the scene of policy through the investigation of visions, politic goals, core values, subjects and fields of Seongnam-si. In addition, it intends to investigate the strategies and roles cultural artistic education is playing in urban policy of Seongnam-si.

국가 정체성 혁신을 위한 문화예술진흥정책 사례 분석: 르네상스 시티 프로젝트 및 싱가포르 아트 뮤지엄을 중심으로

박세연(Se Youn PARK) 한국조형교육학회 2018 造形敎育 Vol.0 No.68

이 논문은 문화국가 확립을 목적으로 시작된 싱가포르의 문화예술진흥정책에 대한 연구이다. 이를 위해 문화예술진흥정책의 일환으로 2000년부터 2015년까지 진행된 ‘르네상스 시티 프로젝트’를 다루었고, 이 프로젝트에 포함된 싱가포르 아트 뮤지엄의 건립 배경 및 역할을 살펴보았다. 싱가포르는 경제발전을 우선으로 하는 정책 하에 1980년대 중반까지 문화예술 부문이 주목받지 못했다. 문화적 불모지라는 문제를 해결하고 국가 경쟁력을 제고하기 위해 싱가포르 정부는 문화예술을 통해서 싱가포르의 새로운 국가 정체성을 구축하고자 하였다. 이러한 목적으로 추진된 르네상스 시티 프로젝트는 문화예술을 창조산업의 핵심으로 육성시킨 문화예술진흥정책이었다. 일회성이 아닌 장기적인 비전에 의해 지속된 예술진흥정책과 이를 통해 문화의 불모지에서 문화도시로 국가 정체성을 구축한 싱가포르의 사례는 한국의 문화정책에 시사하는 바가 크다. This study examines Singapore’s policies on promoting arts and culture, implemented for the purpose of establishing a cultural nation. For this purpose, it looked at the Renaissance City Project, conducted from 2000 to 2015 as part of the government’s efforts to promote arts and culture. The background and functions of the Singapore Art Museum, included in the project, were also studied. Until the mid-1980s, Singapore prioritized economic development in its national policies, resulting in less attention on arts and culture. To enhance national competitiveness and to overcome its lack of cultural competence, the Singaporean government attempted to establish a new national identity focused on arts and culture. The Renaissance City Project, which was promoted for this purpose, was a policy to foster arts and culture as a core part of the creative industry. The case study of Singapore, which successfully established its national identity as a cultural city through the implementation of arts and culture policies under a long-term vision, has major implications for cultural policies in Korea.