대한민국 전통문화산업 관련 법제도 고찰

김시범 ( Si Bum Kim ) 아시아.유럽미래학회 2016 유라시아연구 Vol.13 No.1

Traditional culture could be succeeded or cut off depending on choices of the society’s members who enjoy that culture. It will not be no longer traditional culture if that culture is not and will not appreciated by current and future members of that society, even though that culture had been highly appreciated and enjoyed by past members of that society. That culture could be perished if members of that society do not cherish the value of that culture any more. However, if that culture had been cut off by artificial interruption of outsiders, some ways must be studied to discover, to preserve and to utilize the value of that traditional culture for next generations of that society. This paper studies the trends of laws and policies of the Republic of Korea regarding the traditional culture industry. The viewpoints of the society regarding traditional culture industry could be reviewed as the laws are registered consensus of members of that society. And the policies of the government are important ways to discover, to preserve and to utilize the value of culture to execute with governmental authority. Tradition has been set up naturally by life styles through historical and social standard norms and natural environment. This paper defines the chronologic time of traditional cultural industry by modern times and the before. The Cultural Heritage Protection Act, legislated in 1962, emphasized the protection of the cultural properties. The Cultural Heritage Protection Fund Act, legislated in 2009, is also a law to preserve and protect the cultural properties. In 2011, the scope of the intangible cultural heritage was extended from the area of special experts to the area of mass public activities, such as ‘play’ and ‘ceremony’. In 2014, through the amendment of The Cultural Heritage Protection Act, legal grounds were set up for cultural properties utilization and business opportunities. The Intangible Cultural Heritage Preservation and Promotion Act, legislated in 2015 and being executed in 2016, was split from The Cultural Heritage Protection Act. By this split of the laws, it is possible to respond to the demands of international society, such as UNESCO. Aslo, The Cultural Heritage Protection Act extended the scope of intangible cultural heritage wider. New definition of the intangible cultural heritage includes (a) traditional performance and arts (b) traditional skills about craft and art works (c) traditional knowledge about oriental medicine, agriculture and fishery (d) oral tradition and expression (e) traditional living habits including food, clothing, and shelter (f) civil ceremony including folk religion (g) traditional play, festival, accomplishments and martial arts. The Intangible Cultural Heritage Preservation and Promotion Act makes it available to establish and operate ‘Traditional Craft Bank’ which can buy, rent and display the traditional crafts created by traditional masters. Also, it encourages government to promote traditional performance and traditional arts for display and marketing activities overseas through the cooperation with international organizations and other countries. Even though craft cultural industry is one of the highly value-added business as it could be melded with other industries, the business activities of traditional craft cultural industry were not strongly supported and encouraged by the law. The Craft Cultural Industry Promotion Act, legislated in 2015, made it possible to execute promotional policy for melding tradition and modern, grafting arts onto business legally. The Craft Cultural Industry Promotion Act encourages central and regional governments to make comprehensive plans for a craft cultural industry promotion including research and study for a craft cultural industry promotion, business foundation and production aid, infrastructure expansion and sales distribution vitalizations. This Act requires government (a) providing fund loan to business founders for their sustainable growth (b) designating institutes and/or colleges as a special training institutes and subsidizing some or all of their expenses to train professional experts (c) designating institutes to manage craft producing technology studies of raw materials and substitute materials for craft production (d) promoting sale activities including joint purchasing and joint marketing (e) designating ‘outstanding craft’ and providing benefits of branding, display, investment arrangement, overseas expansion, collaboration with other cultural contents. Even though the policy and legal amendment as well as new legislation of Korean government drive the traditional cultural business encouraged, some questions are brought up when reviewing the process and the results of those efforts. Korean government and private sectors should communicate to each other with sincere attitudes to develop concrete practical policies for traditional culture industry which can generate more economical profits and provide more values to the public.

Korean Beauty in a Global Cultural Context

( Eun Ju Ko ),( Eun Ha Chun ),( Seul Gi Lee ) 한국마케팅과학회 2011 Journal of Global Fashion Marketing Vol.2 No.4

Culture appears to be the significant factor for the competitiveness of a country, as a unique cultural heritage can function as a differentiation tool that can never be emulated by others (Kim, 2009). More and more countries are making great efforts to recognize their own values and to develop cultural contents. Korea, however, lacks a distinctive national image or cultural identity compared to neighboring countries, such as Japan and China. In particular, the Korean lifestyle and traditional values are not being introduced to the world. A cultural prototype can be utilized to render the image of a certain nation more appealing. Living in highly diversified world, it is necessary to rediscover and properly understand the true value of our traditional culture. Therefore, this study (1) identifies the intrinsic values of Korean beauty from ideological, religious, and aesthetic perspectives and backgrounds; (2) discovers the Korean beauty present in the traditional Korean lifestyle and culture, including clothing, food, housing, Korean liquor, and Korean paper; and (3) provides strategic implications for globalizing Korean beauty and improving the national brand value of Korea. To discover the value of Korean beauty, a multilateral literature review was conducted. Previous studies have explored the intrinsic Korean beauty present in traditional culture (i.e., ideology, religion and aesthetics) and in traditional lifestyles (i.e., clothing, food, housing, traditional liquor and paper). Additionally, to reexamine Korean beauty as it is perceived in a modern context, in-depth interviews with thirteen experts in Korean culture were conducted. The in-depth interview method was also applied to determine the strategic implications of globalizing Korean standards of beauty. Lastly, the Experience Grid Model by Schmitt (1999a) was utilized to analyze the globalization strategies of Korean standards of beauty. This study presents the basic characteristics of Korean beauty according to three descriptions: Sagacious harmony of man and nature, Immanence of spiritual values: Symbolism and the culture of ``Jeong (情)``, and Realistic optimism: Beauty of Pungryu (風流) and Han (恨). As Kim (2004b) emphasized the substantiality of intangible value despite the difficulty of proving such value, Korean beauty actually appears in every lifestyle component, including clothing, food, housing, traditional liquors, and Korean paper. From the in-depth interviews, experts commonly pointed out the importance of Korean people having pride in their own tradition and culture before aiming at the globalization of Korean beauty. The results of interviews regarding the requirements for advertising and globalizing Korean beauty can be summed up in three points: ``In-First-Then-Out``, ``Find and Stick to the KOREANESS (Korean Identity)``, and ``Importance of Presentation and Direct Experience``. First, ``In-First-Then-Out`` indicates that having a profound knowledge of and pride in one`s own culture is an essential prerequisite for Koreans. Second, ``Find and Stick to the KOREANESS`` stresses the development of core values and unique edges in Korean culture. Lastly, ``Importance of Presentation and Direct Experience`` suggests that the firsthand experience of the total traditional Korean culture should be further expanded. As a result, this study proposes five marketing strategies related to the Strategic Experiential Modules (SEMs) that can induce a positive perception toward Korean culture and national image. Regarding ``Sense`` marketing, developing luxurious contents with a combination of modernism and tradition is suggested. Movies and fashion shows can be effective experiential channels that can arouse either the aesthetic amusement of or pleasure in Korean beauty. In emotion marketing, related to the ``Feel``, Ko (2005) described the emotional branding strategy in terms of an experienced aspect. Expanding the experiential channel and creating emotional stimuli that compose certain moods relevant to Korean culture is necessary. From the cognition marketing aspect, which is relevant the ``Think`` perspective, associative thinking with Korean culture can be induced by a media program, joint Asian symposium and distinctive naming strategy. As to the ``Act`` module, raising the level of holistic experience and providing various options can help attract voluntary actions. Lastly, relationship marketing, corresponding to the ``Relate`` factor, can be adopted, as this factor injects Korean identity into the whole experience, which leads to a bonding relationship and sincere interaction. Additionally, excellent contents and experiences need to be provided to arouse the self-respect of the Korean people and to produce a natural word-of-mouth effect. This study is intended to rediscover cultural values in Korean tradition in a highly developed material civilization. Traditional cultures have long been transformed, recreated, and naturally selected by socio-cultural changes and are now being redefined as subjects of global materialism. The development of unique Korean values can be utilized by many actors: Korea, by improving national brand value, and Korean companies, by establishing global marketing strategies and using storytelling as a marketing tool. It is time for Korea to grapple with the means of globalizing and positioning traditional Korean culture as having a premium value in the global environment. The general aesthetic values of Korean tradition can be useful in branding with cultural-specific storytelling and differentiating a brand or product (Kim, Kim, & Ko, 2010; Ko & Lee, 2011). However, anxious expectation for short-term performance can ruin the ongoing efforts. The main contribution of this study is that it encompasses both an academic and a managerial perspective in defining Korean beauty and developing a globalization strategy by collecting comments from a variety of expert panels. Further research can implement a quantitative study on consumers` attitudes about, satisfaction with, and evaluation of Korean culture. Additionally, the application of this study to developing brands with storytelling of Korean culture and as a substantive strategy for communicating with customers is encouraged.

Cultural Implications of Korean Traditional Woodcraft Furniture

이춘식 대한공업교육학회 2013 대한공업교육학회지 Vol.38 No.1

Culture is already deeply imbued in our lives. The furniture has become a way of life and the human became part of the culture. In this study, the aim is to explore the traditional furniture that is projected through the culture as a lifestyle. Therefore, the purpose of this study is to explore the cultural implication in Korean traditional wooden furniture. Specific research questions in this study are as follows; 1) How to reflected house structure culture at traditional woodcraft furniture? 2) How to reflected interior space culture at traditional woodcraft furniture? 3) How to projected life form style culture at traditional woodcraft furniture? 4) How to harmonize between modern life culture and traditional woodcraft furniture?In order to achieve the purpose of this study, the literature of review was used masters of Korea's traditional woodcraft furniture. To collect information of Korean traditional furniture, the furniture was selected representative pieces of Korean Joseon Dynasty and interviewed an important intangible cultural asset somokjang. Based on the explore of Korean traditional furniture, the conclusions of this study are as follows; first, in the viewpoint of house framework culture, most of traditional furniture was made ​​using a narrow interior space and was to be placed in close contact with the walls, and was developed as a type of molding on the front of the furniture to pursue beauty. Second, in the viewpoint of ondol culture, traditional furniture was closed to the wall by using low height furniture and furniture legs the structure punghyeol was used to reflect the phenomena of convective heat and humidity. Third, in the viewpoint of life form culture, traditional furniture was made that sat-down at eye level configuration is proportional to its size and height and appropriately been made. And patterns reflect the wishes of most things in nature and to be blessed with longevity origin were used in the decoration of wooden furniture. Finally, in the viewpoint of modern life culture, traditional furniture is simple but not dirty, and splendid but not luxurious. So although traditional wooden furniture are in any room or place, never discouraged by the dignity.

국가브랜드 제고를 위한 한국인의 전통문화 소비실태 연구

채지영(Chae Jee-Young),윤유경(Yoon You-Kyung) 한국문화산업학회 2007 문화산업연구 Vol.7 No.2

The purpose of this research is to understand an idea of national brand value and find its competitiveness and make a plan for its improvement through finding the trend of consumption on Korean traditional Culture. For this, online survey of 1,175 men and women over 13 years old in 2006 is carried out to analyze the consumption on six kinds of Korean traditional culture, and used the national brand asset classification as a standard model. As a result, traditional culture had a core role in formulating the image of Korean traditional culture, and in particular, Kimchi was chosen as the most useful item which shows Korea. Also, through analyzing consumption intention on Korean traditional culture, the most competitive field was appeared to be Korea Traditional House, ‘han-ok'. Particularly it corresponds with the pro-environment and well-being trend based on the consumption analysis, and it was predicted to be in the limelight as a competitive cultural item hereafter. Showing the difference by age, unexpectedly, the younger they are, the higher interest they showed in Korean traditional clothes and the musical performance. This is a good example of the effect of the recent education emphasizing traditional culture experience. It is necessary to make an industrial strategy for the children ‘foot in the door' to be the main class of consumption on traditional culture from now. However, it was pointed out that the problem of management of Korean national brand was using various types of slogans without an agreement on identity based on its brand reality. Lastly, it requires the systematic management of national brand in terms of it fluidity and at the same time, plans must be groped for establishing its own identity. The purpose of this research is to understand an idea of national brand value and find its competitiveness and make a plan for its improvement through finding the trend of consumption on Korean traditional Culture. For this, online survey of 1,175 men and women over 13 years old in 2006 is carried out to analyze the consumption on six kinds of Korean traditional culture, and used the national brand asset classification as a standard model. As a result, traditional culture had a core role in formulating the image of Korean traditional culture, and in particular, Kimchi was chosen as the most useful item which shows Korea. Also, through analyzing consumption intention on Korean traditional culture, the most competitive field was appeared to be Korea Traditional House, ‘han-ok'. Particularly it corresponds with the pro-environment and well-being trend based on the consumption analysis, and it was predicted to be in the limelight as a competitive cultural item hereafter. Showing the difference by age, unexpectedly, the younger they are, the higher interest they showed in Korean traditional clothes and the musical performance. This is a good example of the effect of the recent education emphasizing traditional culture experience. It is necessary to make an industrial strategy for the children ‘foot in the door' to be the main class of consumption on traditional culture from now. However, it was pointed out that the problem of management of Korean national brand was using various types of slogans without an agreement on identity based on its brand reality. Lastly, it requires the systematic management of national brand in terms of it fluidity and at the same time, plans must be groped for establishing its own identity.

문화재를 활용한 유아 전통문화예술 활동이 전통문화 인지 및 선호도와 또래 상호작용에 미치는 영향

신동옥,백지혜 한국청소년상담학회 2024 청소년상담학회지 Vol.5 No.2

본 연구의 목적은 문화재를 활용한 유아 전통문화예술 활동이 만 5세 유아의 전통문화 인지 및 선호도와또래 상호작용에 미치는 영향에 대하여 알아보는 것이다. 연구대상은 D시에 위치한 D유치원의 만 5세 유아 46명으로 한 학급 23명을 실험집단으로, 다른 학급 23명을 통제집단으로 구성하였다. 실험집단은 문화재를 활용한유아 전통문화 예술 활동을 9주간 주 2회 총 17회 걸쳐 실시하였으며, 통제집단은 개정누리과정에 기초한 전통문화 활동을 실시하였다. 전통문화 인지 및 선호도와 또래 상호작용에 대한 사전·사후검사를 실시하였으며수집된 자료는 SPSS 23.0을 사용하여 공변량(ANCOVA)분석을 실시하였다. 연구결과는 다음과 같다. 첫째, 문화재를활용한 유아 전통문화 예술 활동은 실험집단이 통제집단보다 전통문화 인지 및 선호도의 전체 및 하위요인에통계적으로 유의미하게 향상된 것으로 나타났다. 둘째, 문화재를 활용한 유아 전통문화 예술 활동은 실험집단이통제집단보다 또래 상호작용의 전체 및 하위요인에 통계적으로 유의미하게 향상된 것으로 나타났다. 이러한연구결과는 전통문화 인지 및 선호도와 또래 상호작용의 증진을 위하여 유아교육현장에서 문화재를 활용한 유아전통문화 예술활동이 필요함을 시사한다. The purpose of this study was to investigate the effects of early childhood traditional culture and arts activities using cultural properties on the recognition and preference of early childhood traditional culture and peer interaction This study examined 46 five-year-old children located at “D” kindergarten in Daegu Metropolitan City. Of the 46 children, 23 children were placed in the experimental group and 23 children in the control group. The experimental group participated in early childhood traditional culture and arts activities using cultural properties twice a week for a total of 16 times for nine weeks while the control group participated in traditional culture activities based on the revised Nuri curriculum. The instrument of recognition and preference of traditional culture developed by Jeon (2003), supplemented and amended by Kim (2012), was used to measure the recognition and preference of traditional culture. This study applied the Penn Interactive Peer Play Scale (PIPPS) created by Fantuzzo and others. (1995) as an object of domestic early childhood by Choi and Shin (2008). The collected data in this study were analyzed using Analysis of Covariance (ANCOVA). Results from this study indicated the followings: First, for the early childhood traditional culture and arts activities using cultural properties, the experimental group had statistically significant effects on the improvement of recognition and preference of traditional culture, specifically within the categories of clothing life, food life, shelter life, traditional arts, cultural property, and traditional play such as folk games compared with the control group. Second, for the early childhood traditional culture and arts activities using the cultural properties, the experimental group had statistically significant effects on positive interaction and play disturbance compared with the control group. In conclusion, results from this study emphasize that early childhood traditional culture and arts activities using cultural properties are effective in improving the recognition and preference of early childhood traditional culture and peer interaction.

럭셔리 패션 브랜드의 한국 전통문화 활용에 나타난 진정성 분석 - 구찌(Gucci)를 중심으로 -

고윤정,임은혁 한국패션디자인학회 2023 한국패션디자인학회지 Vol.23 No.1

In the era of globalization and glocalization, multinational companies are applying traditional cultures to brand marketing and using them as strategies for entering the market. The utilization of other cultures by luxury fashion brands based on Western capital has been recognized as cultural borrowing or cultural exchange. However, as the problem of cultural appropriation that misinterprets non-Western cultures has emerged, authentic approach to traditional culture employed as a marketing tool is being required. Gucci is a representative brand that actively utilizes other traditional cultures in design and marketing; building a pioneering image of diversity. This study aims to analyze Gucci's cases to examine the strategies of luxury fashion brands in utilizing traditional Korean culture from the perspective of authenticity expression, then to discuss a direction of using traditional culture in the contemporary fashion industry. For the purpose of the research, we investigated the current status of cultural borrowing in the fashion industry and analyzed the cases of traditional Korean culture utilized by Gucci since 2012 by restructuring framework of authenticity by Gilmore and Pine Ⅱ. Moreover, we conducted interviews with the domestic companies that collaborated with Gucci as well as the experts in Korean traditional culture. As a result, Gucci could be considered to have an authentic approach to Korean traditional culture through developing products which incorporate typical traditional images, offering experiences of the traditional culture combined with the brand identity, and additional practices for constant influence of traditional culture. These characteristics are parallel to the diversity strategies of Gucci. Nevertheless, guidelines for borrowing traditional culture are urgently needed to prevent the harm caused by cultural appropriation. Therefore, the authentic utilization of traditional culture by luxury fashion brands requires breaking away from stereotypes through in-depth understanding and restructuring of the scope with continuous interest, and reinterpretation of the culture in the spirit of the times. This study has significance in that it provided a frame for understanding the authenticity in utilizing Korean traditional culture and discussing a direction of cultural exchange which reflected expert opinions in the related field. 세계화와 지구지역화 시대의 도래에 따라 다국적 기업은 현지 시장 진출의 전략으로써 전통문화를 브랜드 마케팅에 적용하고 있다. 서구자본을 기반으로 한 럭셔리 패션 브랜드의 타문화 활용은 문화적 차용이라는 문화교류의 방법으로 인정받아왔으나, 최근 비서구권 문화를 오역하는 문화적 전유 문제가 대두됨에 따라 마케팅의 대상으로 사용하는 전통문화에 대해 진정성 있게 접근하는 태도가 요구된다. 구찌는 전통문화를 디자인과 마케팅에 적극적으로 사용하는 대표적인 브랜드로 문화적 전유 문제를 극복하기 위한 정책을 내세우며 다양성 실행을 선도하는 이미지를 구축하고 있다. 이에 본 연구는 한국 전통문화를 활용하는 럭셔리 패션 브랜드의 정책을 진정성 표현의 관점에서 살펴보기 위하여 구찌의 사례를 분석하고, 현대 패션산업에서의 전통문화 활용 방향을 논의하는 것에 목적을 두었다. 연구방법으로 문헌연구를 통하여 패션산업에서의 타문화 차용 현황 및 구찌의 브랜드 아이덴티티를 파악하였고, Gilmore and Pine Ⅱ의 진정성 인지 구조를 재구성하여 2012년 이후 구찌의 한국 전통문화 사용 사례를 분석하였다. 나아가 구찌와 협업한 국내 브랜드의 실무자 및 전통문화 분야 전문가와의 인터뷰를 병행하였다. 연구 결과, 구찌는 전통문화의 대표적 이미지를 적용한 디자인 개발, 브랜드의 비주얼 아이덴티티를 반영한 전통문화 체험, 전통문화의 지속적인 영향력을 위한 부가적 활동을 통하여 한국 전통문화에 진정성 있게 접근하는 모습을 보여주었고, 이는 다양성의 존중이라는 브랜드 아이덴티티와 부합하는 전략이라고 할 수 있다. 그러나 현대 패션산업의 본질은 상업성에 있으며 문화적 전유로 인한 피해를 방지하기 위해서는 전통문화 차용에 대한 방향을 구체적으로 설정할 필요가 있다. 본 연구는 럭셔리 패션 브랜드의 한국 전통문화 활용에 대한 진정성을 파악할 수 있는 기초적인 틀을 제공하고, 전통문화산업에 종사하는 전문가의 의견을 반영한 문화교류의 방향을 논의하는 점에서 의의를 가진다.

뉴미디어융합 전통문화콘텐츠 교육프로그램이 전통문화 인식변화에 주는 효과

문지영(Moon Ji Young),이혜정(Lee Hye Jeong),현은령(Hyun Eun Ryung) 한국디자인리서치학회 2016 한국디자인리서치 Vol.1 No.2

최근 전통문화산업은 고용 인력의 고령화로 신기술 및 새로운 유행의 유입이 다소 느린 특성을 보이고 있다. 전통은 고정불변의 것이 아니라 새로운 환경이나 문화를 맞이할 때마다 변화하는 속성을 지니고, 그 시대의 사람들로부터 존재해야 하는 필요성을 갖추어야 선택되고 살아남는다. 때문에 우리나라 전통문화 자체의 ‘불변성’, ‘폐쇄성’의 인식을 개선하고 대중성과 상업성을 향유하기 위한 융·복합의 방안이 연구될 필요가 있다. 본 논문에서는 뉴미디어융합 전통문화 프로그램을 설계하고 공예디자인교육을 통해 체험하게 하여 전통문화 인식변화에 어떤 효과를 주는지에 대해 실증 분석하였다. 실험연구 후 사전사후 조사를 통해 분석한 우리나라 전통문화에 대한 인식의 변화는 다음과 같다. 첫째, 뉴미디어 매체와 우리 전통문화콘텐츠와 융합은 우리나라 성인들의 전통문화에 대한 긍정적 인식 변화에 효과가 있었다.(t=3.378, p<.002) 둘째, 뉴미디어 매체와 우리 전통문화콘텐츠와 융합은 우리나라 성인들의 전통문화에 대한 높은 흥미도를 유지시켰다(t=-.733, p<.471). 셋째, 뉴미디어 매체와 우리 전통문화콘텐츠와 융합은 우리나라 성인들의 전통문화에 대한 긍정적 가치 인식 변화에 효과가 있었다(t=-.963, p<.345). 결과적으로 본 연구에서 설계한 뉴미디어융합 전통문화 프로그램은 우리나라 성인들의 우리 전통문화에 대한 인식을 긍정적으로 변화시키는 데에 효과가 있었다. 특히 전통문화를 새로운 기법과 재료로 표현하는 것에 대한 거부감이 줄어들어 피험자들이 전통문화의 발전을 위해 신기술의 접목이 필요하다고 생각하는 것을 구체화시킬 수 있는 아이 디어로 활용할 수 있었다. The characteristic of this industry that is not to be sensitive to fashion results in making people view it unfavorably. As a matter of fact, tradition is not unchangeable but variable according to environmental or cultural changes. Moreover, tradition can survive when it is considered to be necessary by people. This was why research efforts were channeled into the convergence of cultural heritage to change the negative way of looking at it to improve its popularity and commercial viability. The purpose of this study was to design a new media-convergence traditional culture program in line with the current flow of expanding the traditional culture industry through convergence and with the new media-assisted cultural industry. And it s also meant to make an experiment to determine the effect of the program on the changes of the awareness of adults in our country about traditional culture. The followings are the research questions of the study and the results of the experiment. First, the convergence of the new medium and traditional cultural contents was effective at positively changing the way the adults in our country looked at traditional culture(t=3.378, p<.002). Second, the convergence of the new medium and traditional cultural contents stimulated the Korean adults to stay highly interested in traditional culture(t=-.733, p<.471). Third, the convergence of the new medium and traditional cultural contents was effective at positively changing the awareness of the adults about the value of traditional culture(t=-.963, p<.345). Thus, the three research questions were addressed, and then it s concluded that the new media-convergence traditional culture program designed in this study had effects on the positive change of the awareness of the adults in our country about traditional culture. Specifically, they felt less rejective about expressing traditional culture using the new technique and the new materials, and this served as an opportunity for them to consider it necessary to combine traditional culture and new technology to step up its development.

중학교 국어 교과서의 전통문화 제재 수록 양상 연구 - 2009 개정 교육과정 중학교 국어 교과서를 대상으로-

변숙자 ( Byeon Sook-ja ) 청람어문교육학회(구 청람어문학회) 2017 청람어문교육 Vol.0 No.64

이 논문은 2009 개정 교육과정에 의해 개발된 중학교 국어 교과서를 대상으로 국어 교과서에서 전통문화를 학습 제재로 수록한 양상을 고찰한 것이다. 2015 개정 국어과 교육과정에서 추구하는 ‘문화 향유 역량’과 관련하여 국어 교과서에서 전통문화가 어떻게 인식되고 있고, 전통문화 중 어떠한 내용이 교육 내용으로 선정되고 있는지를 밝히고자 하였다. 현행 중학교 국어 교과서는 총 14종으로 국어 ①~⑥까지 6권씩으로 구성되어 있으며, 총 84권에 달한다. 중학교 국어 교과서의 본문 및 보충·심화 학습 자료로 수록된 전통문화 제재는 총 253편에 달한다. 구체적인 학습활동에 부분적으로 수록된 제재를 합하면 더 많을 것으로 추정 된다. 이 중 본문에 수록된 제재만은 총 154편으로 보충·심화 학습 제재를 제외하자 수록 편수가 현격히 낮아졌다. 전통문화를 본문 학습 제재로 채택하는 비율이 낮은 것으로 보아 현행 국어과 교육과정에서 전통문화 교육의 중요성이 크게 인식되지 못하고 있음을 알 수 있다. 국어과 내용 영역별로 전통문화 제재 수록 양상을 살핀 결과 듣기·말하기 영역 40편, 읽기 영역 52편, 쓰기 영역 10편, 문법 영역 28편, 문학 영역 44편이 수록되었다. 듣기·말하기 영역에서는 전통적인 말 문화의 특징을 설명한 글이 가장 많다. 읽기 영역에는 한복·김치·한옥 등의 전통적 의식주 문화, 한지·옹기·풀 문화 등의 기술문화, 민화·해금·하회탈 등 민속 예술에 이르기까지 가장 다양한 제재가 수록되었다. 쓰기 영역에서는 건의문의 형식과 논증 방식을 설명하기 위해 상소문이 가장 많이 수록되었다. 문법 영역에서는 한글의 우수성과 가치를 설명하는 제재가 다수를 차지한다. 문학 영역에서는 구비문학 보다는 기록문학이 중심을 이루고 있다. 설화보다는 고전소설, 민요보다는 고전시가 작품이 더 많이 수록되었다. 14종 국어 교과서에서 구비문학 작품이 총 6편밖에 수록되지 않아 전통문화 교육에서 구비문학의 중요성이 더욱 적극적으로 검토될 필요가 있다고 판단된다. 문화의 발전은 전통문화에 대한 무지에서 비롯될 수 없다. 전통문화가 무엇인지 알아야, 이를 현대 산업문명 안에서 어떻게 접목시키고 개선하고 더욱 훌륭한 문화로 발전시킬 수 있는지 고민할 수 있다. 2015 개정교육과정에서 추구하는 ‘문화 향유 역량’을 함양하기 위해 국어 교과서에 수록될 전통문화 교육 내용 요소와 선정 기준 마련이 시급하다. This paper presents an investigation into the patterns of traditional culture being included in Korean textbooks as a material in the case of the middle school Korean textbooks developed under the Revised Curriculum of 2009. It set out to examine how traditional culture was perceived in Korean textbooks and which content of traditional culture was selected as educational content in relation to the "capabilities of enjoying culture" sought after in the Revised Korean Curriculum of 2015. There were total 14 kinds of middle school Korean textbooks comprised of six volumes of Korean ①~⑥ each. The total number of middle school Korean textbooks amounted to 84. There were total 253 traditional culture materials included in them as learning materials for the body or supplementary and advanced purposes. The number was estimated to rise further with the addition of partially included ones to specific learning activities. When the learning materials for supplementary and advanced purposes were excluded, the total number of learning materials in the body dropped considerably to 154. The low percentage of traditional culture being selected as a learning material for the body indicates that the importance of traditional culture education is not big in the current Korean curriculum. The study examined the patterns of traditional culture materials being included by the content areas of the Korean subject and found that there were 40, 52, 10, 28, and 44 in the areas of listening and speaking, reading, writing, grammar, and literature, respectively. The texts explaining the characteristics of the traditional speech culture accounted for the biggest portion in the area of listening and speaking. The area of reading had the most diverse materials from the traditional food, clothing, and shelter culture including Hanbok, Kimchi, and Hanok through the technical culture including Hanji, Ong-gi, and Pul culture to the folk art including folk paintings, Haegeum, and Hahoi Mask. The area, however, had a limitation of no materials about the seasonal customs and folk play. The area of writing included the most public appeals to explain the forms of a suggestion text and the methods of demonstration. There was a need to actively include writing a field trip report to museums as a unit material in order to organize an experience-based learning activity. The area of grammar was dominated by materials explaining the excellence and value of Hangul. Documentary literature took the center in the area of literature instead of oral literature. There were more classical novels than tales and more classical poems than folk songs in the area. Since there were only six works of oral literature in the 14 kinds of Korean textbooks, it is necessary to review more actively the importance of oral literature in the education of traditional culture. The development of culture cannot be possible with people's ignorance about traditional culture. They need to know what traditional culture is in order to incorporate it into the modern industrial civilization, improve it further, and develop it into much greater culture. It is urgent to establish a set of criteria for the educational content elements and selection for traditional culture in order to ensure the cultivation of "capabilities of enjoying culture" sought after in the Revised Curriculum of 2015.

국가의 전통․민족문화 계승의무와 전통사찰 보존에 관한 헌법적 연구

김상겸(Kim, Sang Kyum),김성준(Kim, Seong Jun 한국토지공법학회 2009 土地公法硏究 Vol.43 No.2

21세기는 문화의 시대이다. 국가 간에 다양한 교류가 이루어지면서 세계화는 가속되고 있다. 이 가운데 특히 문화교류는 더욱 빈번해지고 있다. 헌법은 제9조에 전통문화의 계승과 발전을 위하여 국가의 노력의무를 규정하고 있다. 헌법이 전통문화와 민족문화를 언급하고 있는 것은 국가에 있어서 문화가 얼마나 중요한 대상인가를 단적으로 말해주고 있는 것이다. 더구나 문화는 한 국가의 역사 속에서 도도히 흐르고 있는 정신과 이념을 담고 국가의 정체성과 특성을 보여주는 대상이다. 우리나라는 전통문화와 민족문화의 한 부분으로서 전통사찰을 보호하고 있다. 전통사찰은 한반도에 불교가 들어온 후 오랜 기간을 통하여 민족문화로 동화된 불교문화를 보존하고 발전시키기 위한 대상이다. 국가는 전통사찰보존법을 통하여 전통사찰을 지정하고 이를 보호하기 위하여 노력하고 있다. 그렇지만 전통사찰보존법의 내용은 전통사찰 지정제를 도입한 취지를 못살리고 있다. 즉 전통사찰에 부여된 문화적 가치와 역사적 의미에 걸맞은 법으로서의 역할을 제대로 하지 못하고 있다. 그리고 전통사찰보존법에서도 언급하고 있는 것처럼 전통사찰은 문화유산적 가치뿐만 아니라 불교수행의 도량으로서 승려가 기거하는 거주의 장소이면서 국민의 종교활동의 공간이기도 하다. 동 법은 그런 점에 대하 고려가 없다. 전통사찰보존법에서 가장 문제가 되는 것은 환경보호구역 내에 있는 사찰의 문제이다. 상당수의 전통사찰이 자연환경 내지 도시공원 등 녹지에 있기 때문에 환경문제가 항상 충돌된다. 환경문제는 21세기의 시각에서 볼 때 인류의 생존을 위한 중요한 문제이다. 그렇지만 인류에게 있어서 문화 역시 포기할 수 없는 중요한 요소이다. 그래서 환경문제를 슬기롭게 대처하면서 전통사찰이 갖는 의미를 실질적으로 살려나가는 방법을 찾아야 한다. 더구나 현행 헌법은 전통문화의 계승과 발전을 위하여, 그리고 민족문화의 창달을 위하여 국가가 노력해야 한다고 규정하고 있다. 입법자는 자신에게 주어진 입법형성의 자유의 틀 내에서 법과 제도의 개선을 통하여 문제를 풀어야 한다. 21세기는 환경의 세기이기도 하지만 문화의 세기이기도 하다. 우리 역사에 도도히 흐르는 불교문화는 단지 종교적 의미만 가지는 것이 아니라, 오랜 기간 민족의 정신으로부터 잠재하여 내려오는 우리의 전통문화이면서 민족문화이다. 그런 점에서 전통사찰의 보존과 관리를 위하여 그리고 민족문화의 새로운 창달을 위하고 국제화 시대에 상응하는 법과 제도의 개선이 필요하다. The 21st century is an age of culture. Diverse exchanges and communication among nations have accelerated globalization. Among the multi-layered interaction has cultural exchange become more important and frequent. The Constitution states in Article 9 the duty of the state to do every effort for the upholding and development of traditional culture. The importance of culture to the State can be definitely inferred from the fact that our Constitution mentions traditional and ethnic culture. Furthermore, in the culture lies the spirit and identity of a nation which were formed through the historical river. Our country has protected traditional temples as a part of traditional and ethnic culture. Traditional temples, as a preservation of Buddhist culture ingrained in our culture since the introduction of Buddhism to Korean peninsula, are being protected for the development of the culture. The state enacted “Traditional temples preservation law” to reach the goal. However, the content of this law hardly complements the “Traditional temples appointment policy”. That is, the law has not been playing a proper role for the cultural value and historical meaning granted to traditional temples. The basic characteristics of the temple as a residents for monks and at the same time as a space for people's religious acts are not even considered in the law. The most problematic issue in the Temple Law is the issue of temples within the environment protection area. Since most of the temples are located in the greens comes the issue in conflict with environment. The environment issue is an important agenda for the survival of human being in the 21st century. This provides the background why people must search for a method to cope with environmental issues and at the same time preserve the meaning of traditional temples. As our Constitution states, the state has an obligation for the preservation of its culture. Law makers should contemplate on a breakthrough to this issue within the rights and freedom of legislation. Not only environment, but also culture is the main agenda of the 21st century. The Buddhist culture as a great legacy of history is not merely a religious phenomenon. It is the spirit and mentality of our tradition and ethnicity. Law and institutions would have to develop in a way, in which traditional culture can be preserved and developed and at the same time, in which the flow of globalization is not disregarded.

한중 전통문화예술거리 사례연구 : 중국 톈진 고문화거리와 한국 인사동 전통문화거리를 중심으로

후카,주희현 한국문화예술경영학회 2024 문화예술경영학연구 Vol.17 No.1

본 연구는 중국 ‘톈진(天津) 고문화거리’와 한국 ‘인사동 전통문화거리’를 사례로 전통문화예술거리 형성의 역사적 맥락을 고찰하고, 현황과 특징, 시사점을 탐색한다. 1400년대로부터 기원한 톈진 고문화거리는 1986년 당국의 지원 과 정비에 힘입어 주요 역사문화 관광지로 자리매김했다. 건축, 수공예, 연극, 음식 등은 주로 청나라 시대를 계승, 재현하고 있으며 차별화된 톈진 고유의 전통문화를 즐길 수 있다. 한편, 인사동 전통문화거리는 조선과 일제강점기를 거치는 근현대사 배경 속에서 골동품상점과 고고미술화랑, 갤러리를 중심으로 형성되었다. 한국 전통의 주거 양식과 음식, 문화예술이 공존하는 가운데 다국적 요소들이 접목되어 ‘전통문화’의 새로운 관점을 제시한다. 결론적으로 톈진 고문화거리는 ‘전통성’, ‘문화성’, ‘고유성’으로 인사동 전통문화거리는 ‘전통성’, ‘예술성’, ‘다양성’으로 그 특징을 함축 할 수 있다. 이에 전통문화의 계승과 보전, 그리고 현대인들의 욕구가 충족되는 개방적이고 수평적인 공간으로서 ‘전 통문화거리’에 대한 확장적 연구가 필요한 시점이라 하겠다. This study examined the historical context of the formation of traditional culture and arts streets with two examples of China's Tianjin Traditional Culture Street and Korea's Insa-dong Traditional Culture Street, and explored the current status, characteristics, and implications. Originating from the 1400s, Tenjin Traditional Culture Street became a major historical and cultural tourist destination in 1987 thanks to the support and maintenance of the authorities. Handcrafts, plays, and foods mainly inherit and reproduce the Qing Dynasty, and you can enjoy Tianjin's own traditional culture. Meanwhile, the traditional cultural street in Insa-dong, Seoul, was formed around antique stores, archaeological art galleries, and galleries in the background of modern and contemporary history through Joseon and Japanese colonial era. In the coexistence of Korean traditional residential style, food, and culture and arts, multinational elements are combined to present a new perspective of traditional culture. In conclusion, the image of Tianjin Traditional Culture Street is implied by tradition, culture, and uniqueness, while the image of Insa-dong Traditional Culture Street is implied by tradition, artistry, and diversity. It is time for an extended study on traditional culture street as an open and horizontal space where the succession and preservation of traditional culture and the needs of modern people are satisfied.