문화예술교육으로서 영화교육의 현황과 전망

민경원(Min Kyung Won) 한국영화학회 2011 영화연구 Vol.0 No.49

The arts & culture education that began in 2005 has brought about diversity of school arts & culture education in many respects for 7 years. The core of all education consists in the students who enjoy education and accept and develop arts & culture education. The purpose of arts & culture education is set in proper direction when they recognize and utilize the objectives and needs of arts & culture education properly. Arts & culture education has been expanded to a total of 8 areas by adding 3 areas of photograph, design, and crafts from 2010 to the existing 5 areas of theater, film, animation, dancing, and Korean traditional performing arts. However, it cannot be said that arts & culture education develops just because the genres of arts & culture education are expanded. How adequately the educational contents are organized, how properly the instructors are conveying the educational contents, and how actively students are participating in the education need to be examined. Particularly, the following two factors are urgent problems that should be solved anytime soon in order to attain film education. First, ‘teaching materials’ should be developed. It is reality that elementary and intermediary film education has been conducted with teaching plans prepared at the instructor’s discretion without film textbooks. The development of moving image data teaching aids and some teaching materials has been under way but the reality is that there are no official film education textbooks. Film textbooks should be developed and established anytime soon so that film education by differentiated level can be implemented and actively utilized in the film education fields. Second, ‘creative teaching method’ should be developed. Film art instructors’ training programs should be organized so that creative education by creative power teaching method can be attained, instead of just focusing on simple routine training. Arts & culture education that is based on creative writing should be approached differently from other general subject of studies education. ‘It is nothing particular. Isn’t it a creative teaching method since it is based on creative writing? Such preconceived notion should be discarded. In arts & culture education, it is the film education that should be conducted by systematizing creative teaching method so that the students’ imagination can be developed infinitely and applied to all the areas of daily life. And it should help the student grow as well-rounded persons contributing to society, if not necessarily grow as artists. Creative teaching methods should be applied to all aspects of arts & culture education in the school educational fields so that the students can enjoy arts & culture education pleasantly. Particularly in film education, educational activities encompassing entire moving image media should be developed and the concept of one-source-multi-education, the characteristics of film, should be expanded and developed to classes connected to diverse school educational courses of studies, and this is the purpose that film education as arts & culture education should pursue.

배경과 실천에 기초한 ‘문화예술교육’의 의미와 정체성

장기범 한국음악교육공학회 2010 음악교육공학 Vol.- No.11

“Culture and Arts Education” is a political phrase launched by the Ministry of Culture, Sports, and Tourism of Korea (hereinafter, the Ministry of Culture”). Under the penumbra of “Culture and Arts Education”, numerous programs have been executed through the years in places such as, schools, cultural centers, orphanages, child care centers, military camps, and even in prisons throughout the country. Despite the fact that various programs have been executed with a tremendous amount of endeavor to advertise the “Culture and Arts Education Program” of the Ministry of Culture, most Koreans do not know the definition nor the identity of “Culture and Arts Education”. The Ministry of Culture hosted “2nd World Conference on Arts Education” with UNESCO in Seoul, Korea on May 24-27, 2010. The title of this conference was translated in Korean as ‘Culture and Arts Education’. The word ‘Culture’ was added intentionally. Most Koreans have an agreed understanding or sense of the meaning of Arts education and that of Culture education; however, they do not understand the intension or reasoning behind the Ministry of Culture’s intentional translation of ‘Arts education’ as ‘Culture and Arts education’. Through this paper, the researcher has tried to grasp the characteristics of Korea’s ‘Culture and Arts education’ by 1) reviewing the background of how the phrase “Culture and Arts Education” was formed, and 2) examining the “Culture and Arts Education” programs that have been conducted from 2000 to date. The conclusions drawn by the researcher as the following: 1) the term “Culture and Arts Education” was adapted by the Ministry of Culture without any in-depth philosophical or social consideration; 2) the definition of “Culture and Arts Education” outlined in the’ Culture and Arts Education Supporting Act’ may ensure legal use of the term, but it still does not form nation-wide understanding of the term. Moreover, the definition is not comprehensive enough to encompass on-going “Culture and Arts Education” programs in general; 3) there have been numerous programs assumed under the title of “Culture and Arts Education”; however, the goals and objectives of such programs are not consistent with one another, making it difficult to grasp the characteristics of ‘Culture and Arts Education’ by examining these programs; 4) the Ministry of Culture’s approach of defining the meaning of ‘Culture & Arts Education’ by adding various connotation on a piecemeal basis must change. In order to secure the goal of its policy, a more focused and comprehensive definition of “Culture & Arts Education” must be secured first; and 5) thus, it is strongly recommended that the Ministry of Culture lead comprehensive and on-going efforts to secure the definition of “Culture and Arts Education” to enable a better understanding of its policy for Culture and Arts and broader dissemination of the same. 한 나라의 정책은 국민의 공적 이익을 위한 계획이다. 2000년부터 추진된 ‘문화예술교육’은 문광부의 문화정책이다. 정책 추진 후 10년이 지난 현재, 아직도 문화예술교육에 대한 개념은 불투명하다. 이 연구에서는 정책의 추진배경과 실적을 기반으로 문화예술교육의 특성을 파악하고자 하였다. 문화예술교육은 문화의 세기를 맞아 예술교육의 중요성을 인지하고 국민 모두의 예술적 문화적 능력을 배양하기 위하여 선 실천 후 개념정의를 표방한 문광부의 예술교육정책으로 개념 정리하였다.

삶과 함께하는 문화예술교육: 포용성과 일상성 확보를 위한 사회문화예술교육의 전환

김자현 경희대학교 후마니타스 교양교육연구소 2021 후마니타스 포럼 Vol.7 No.2

Arts and culture education initiatives first gained momentum in 2005. In the earlier years, support for arts and culture education centered around vulnerable (marginalized) communities. Later, this expanded to include the general populace. Partnerships with local governments created an environment in which more members of regional communities are able to benefit from arts and culture education. Despite such achievements, arts and culture education policies still take a welfare approach in targeting vulnerable communities, and they do not reflect the diverse characteristics of each particular region. As such, a transition to "arts and culture education for all Koreans" and "arts and culture education in accordance with sociocultural shifts" will be necessary. This study examines the outcomes and limitations of arts and culture education initiatives, recent issues, and the future direction of arts and culture education. In order for all Koreans to benefit from arts and culture education, an apparatus must be designed so that arts and culture education is accessible in everyday life. Moreover, a novel approach to arts and culture education is required, one that transcends the arts and culture experiences of the individual and examines and interacts with a diverse range of sociocultural agendas including generational conflict, climate change, and gender issues. 2005년 이후 본격 추진된 사회문화예술교육 정책사업은 사회취약계층 및 군부대, 교정시설, 아동․노인․장애인 복지기관 중심의 지원에서 점차 청소년․청장년 등 일반국민으로 확대되었고, 지역의 추진체계(지역문화예술교육지원센터) 구축을 통해 지역주민이 참여할 수 있는 구조로 확장되면서 그 성과를 축적해왔다. 그러나 특정대상 중심의 복지적 관점의 정책 추진, 지역 특성이나 현장의 수요를 반영하지 못하는 한계를 넘어,‘모든 국민을 위한 문화예술교육’,‘사회문화적 변화에 조응하는 문화예술교육’으로의 전환이 요구된다. 본 논문에서는 공공영역에서 추진해 온 사회문화예술교육의 정책사업을 중심으로 사회문화예술교육의 정체성, 성과와 한계, 최근의 이슈, 미래 사회문화예술교육의 방향 등을 모색해 보고자 한다. 누구나 배제 없이 모든 국민이 문화예술교육을 누릴 수 있는 권리를 보장하기 위해서는 중앙주도의 취약계층 중심의 지원구조에서 지역 중심의 생활권 단위 지원구조로의 전환이 필요하다. 또한 개개인의 예술적 체험에 머무는 것이 아닌, 세대갈등, 기후변화, 젠더이슈 등 다양한 사회문화적 의제를 일상 생활 속 실천으로 연결해보는 사회문화예술교육의 새로운 접근 노력이 모색되어야 할 것이다.

Kop 연결주의 학습이론 기반 문화예술교육 프로그램 적용

이철우,박명선 한국국제문화교류학회 2024 문화교류와 다문화교육 Vol.13 No.2

This study intends to present a new direction for arts and culture education by interpreting the experiences of arts and culture education based on connectivism learning theory of art instructors and teachers practicing arts and culture education in school from the perspective of connectivism and future arts and culture education. To this end, the research question was set as the meaning of arts and culture education experiences based on connectivism learning theory of art instructors and teachers in charge who are practicing arts and cultural education. In this study, after defining the basic concept of arts and culture education to solve the research problem, we discussed theoretically about arts and culture education in schools, connectivism, the era of open learning, and the digital native generation. And as a future arts and culture education, the meaning and value of arts and culture education based on connectivism learning theory was analyzed. Next, a narrative inquiry method was used as a research method to interpret the future arts and culture education experiences of art instructors and elementary school teachers, the participants in this study, from the perspective of connectivism. The results of analyzing the participants' arts and culture education experience from the perspective of connectivism and future arts and culture education are as follows. First, art instructors have formed their pride and identity as art instructors, arts and culture education experts, and artists even before working at Arte School. This process of identity formation put them in the position of experts as arts and culture education experts and artists, and became the starting point of arts and culture education based on connectivism learning theory at Arte School. Second, at Arte School, art instructors had a new experience of encountering the expansion of online education system and connectivism learning theory, and this experience led to the development and practice of a new arts and culture education program. Third, art instructors experience meeting with teachers at Arte School, learning and practicing connectivism, developing and practicing arts and culture education programs based on new connectivism learning theory, and experiencing connectivism learning theory-based culture as the direction of future arts and cultural education. I came to understand the value and meaning of art education. Since then, the development and practice of a new arts and culture education program at Arte School has been linked to the development and practice of a arts and culture education program based on connectivism learning theory elsewhere. Fourth, the new narrative of teachers who practiced the arts and culture education program developed by art instructors reaffirmed the value and meaning of arts and cultural education based on connectivism learning theory, which became a driving force for continuous research and development and practice. The significance of this study is that the experience of development and practice of arts and culture education based on connectivism learning theory can suggest a direction as an alternative to new arts and culture education in the rapidly changing modern society and future society. In order to expand the value and meaning of arts and culture education based on connectivism learning theory in the future, more research and professional arts instructors and teachers should be developed.

문화예술교육 다시 이야기하기: 문화예술교육의 개념화에 관한 내러티브 탐구

김선아(Sunah KIM) 한국조형교육학회 2021 造形敎育 Vol.- No.79

본 연구는 2005년 ‘문화예술교육지원법’에 제시된 법제적 정의가 갖는 사회문화적 의미를 현시점에서 재검토하고, 동시대적 관점에서 문화예술교육의 개념을 다양한 현장 전문가의 시각에서 탐색하는 것을 목적으로 한다. 질적연구방법을 활용하여 지난 15년간 문화예술교육의 정책 수립, 투입, 실행에 참여해 온 전문가 3인에 대한 심층 인터뷰를 각 2회 실시하고, 주제중심 분석을 통해 문화예술교육에 대한 이해를 구성하는 개인적, 학술적, 사회적 측면들을 조명하는 것을 주요 내용으로 한다. 본 연구의 세부 문제는 다음과 같다. 현재 문화예술교육에 대한 사회적 인식을 형성하는 주된 요인은 무엇인가? 문화예술교육에 대한 개인적 이해는 어떤 과정 혹은 경험을 통해 형성되는가? 문화예술교육에 대한 공동의 이해 형성을 위한 재개념화는 어떤 방식으로 진행되어야 하는가? 연구 결과를 통한 문화예술교육의 개념화에 대한 시사점을 다음 두 가지로 요약할 수 있다. 첫째, 다양한 층위의 참여 주체가 가진 서로 다른 개념들의 조정과 협의를 통한 상호주관적 의미 구성의 장이 필요하다. 둘째, 개개인이 자신의 주관적 경험에 기초하여 문화예술교육에 질문을 던질 수 있는 권한부여가 필요하다. 본 연구는 확정적인 의미가 아닌 개인의 삶 속에서 사회구성적으로 생성되고, 경쟁하며, 변화하는 문화예술교육의 개념화 방안을 모색하였다는 점에서 의의가 있다. The purpose of this study is to review the socio-cultural meaning of the legislative definition declared in the 2005 ‘Cultural Arts Education Support Act’ and to explore the concept of Arts & Culture Education from the perspective of experts. Using the qualitative research method, in-depth interviews were conducted twice each with three experts who have participated in the establishment and implementation of Arts & Culture Education policies for the past 15 years. This study aims at understanding how participants conceptualize Arts & Culture Education through thematic analysis, so as to illuminate the personal, academic, and social aspects of Arts & Culture Education. The research questions are as follow: What are the main factors that shape the current social perception of Arts & Culture Education? Through what process or experiences is personal understanding of Arts & Culture Education formed? How should the reconceptualization proceed to form a shared understanding of Arts & Culture Education? The implications for the conceptualization of Arts & Culture Education are two-fold. First, there should be a site where inter-subjective meanings of Arts & Culture Education could be constructed through negotiations and discussions of the different concepts held by various stakeholders. Second, it is necessary to empower them to inquire Arts & Culture Education based on individual subjective experiences. The significance of this study could be found in that it seeks the means of conceptualization that is socially constructed and changing in an individual s life.

유아 문화예술교육에 대한 어머니의 인식과 가정의 유아 문화예술교육 실천에 대한 연구

안혜령,류미향 한국문화교육학회 2022 문화예술교육연구 Vol.17 No.4

This study conducted a survey on 401 mothers with children in early childhood in Busan. It aimed to examine the mothers' awareness of early childhood culture and arts education, the family's cultural and artistic experience, and the current status of the use of culture and arts education programs, and to explore the relationship between their awareness and practice. The following results were derived through statistical analysis using SPSS 25.0. First, the mother recognized the importance of early childhood culture and arts education very highly and considered the development of cultural and artistic sensibilities and emotional stability, cultivation of creativity, and enhancement of expressiveness as reasons for its importance. Second, the mothers' satisfaction with early childhood culture and arts education provided by kindergarten or daycare centers and with the contents of local cultural facilities were generally high. Third, the frequency of the family cultural and artistic experience was occasionally, and the representative cultural facilities visited were in the order of historical sites, museums, and art galleries. Forth, the families with children in early childhood used early childhood culture and arts education for children, and the number of times was slightly less than one, the average. The most preferred type of program was art, and the use of a private academy was the most favored. Fifth, the higher the mother perceived the importance of early childhood culture and arts education, the more she tended to experience family cultural and artistic activities and to use early childhood culture and arts education programs. Based on this result, we discussed the need for parent education on culture and arts and early childhood culture and arts education. We also suggested improving the quality of early childhood culture and arts education through mutual cooperation among families, institutions, and local communities. 본 연구는 유아 문화예술교육에 대한 어머니의 인식, 가정의 문화예술교육 실천에 대해 살펴보고 인식과 실천 간의 관계를 탐색해보고자 부산시 유아 어머니 401명을 대상으로 설문조사를 실시하고 SPSS 25.0을 활용한 통계분석을 통해 다음의 결과를 도출하였다. 첫째, 어머니는 유아 문화예술교육의 중요성을 매우 높게 인식하고 있었으며, 감성 발달 및 정서적 안정, 창의성 함양과 표현력 신장 등을 중요성의 이유로 여겼다. 둘째, 유아교육기관의 유아 문화예술교육과 지역문화시설 콘텐츠 각각에 대한 어머니의 만족도는 대체로 높았다. 셋째, 가족 문화예술 경험 빈도는 가끔 하는 수준이었으며, 방문한 대표적인 문화시설은 역사유적지, 박물관, 미술관 순이었다. 넷째, 유아가정에서는 평균 1개보다 약간 적은 수준으로 유아 문화예술교육 프로그램을 이용하였고, 그 유형으로는 미술이, 진행방식으로는 사설학원 이용이 가장 선호되었다. 다섯째, 어머니가 유아 문화예술교육의 중요성을 높게 인식할수록 가족 문화예술 경험과 가정 내 유아 문화예술교육 이용을 각각 더 많이 하는 경향이 있었다. 이 결과를 토대로 문화예술 및 유아 문화예술교육에 대한 부모교육의 필요성을 논의하였으며, 가정-유아교육기관-지역사회 등의 상호협력을 통한 유아 문화예술교육의 질적 제고를 위한 제언을 제시하였다.

고령친화사회의 문화예술교육 실태개선을 위한 연구: 인천지역을 중심으로

하지원 ( Ji Won Ha ),차수정 ( Su Jung Cha ) 대한무용학회 2024 대한무용학회논문집 Vol.82 No.1

This study analyzes the improvement of culture and arts education for the elderly-friendly society in Incheon. The original data of the National Culture and Arts Activity Survey were used for analysis, and SPSS 23 was used for data analysis. Cross-analysis was performed on categorical variables to statistically analyze the changes in the values of each variable. First, overall, it was found that the experience rate of the elderly in Incheon with culture and arts education and past culture and arts education experiences was remarkably low. Second, the research results show that there is no intention to complete culture and arts education in the future. Third, among the obstacles to culture and arts education, it was found that it was expensive and there was little time. First, culture and arts education programs should be classified in detail for each target by dividing the cities, counties, and districts in Incheon. Second, policy support should be prepared to expand opportunities for culture and arts education. Third, lifelong education and culture and arts education institutions in Incheon should increase the proportion of culture and arts education for the elderly. The purpose of this study is to improve the actual condition of culture and arts education for an elderly-friendly society, and to provide basic data necessary for policy preparation.

지역문화예술교육단체의 지속성장을 위한 방안 연구 -지원기관의 정책적, 행정적 관점에서

이현혜 ( Hyun Hye Lee ) 세계음악학회 2016 음악과 문화 Vol.34 No.-

As the 2005 Culture and Arts Education Support Act was enacted, culture and arts education support projects have expanded. With designations in 16 provinces, states, and metropolitan areas in 2011, support policies have changed from central provider centered to local consumer centered. As policies for culture and arts education were established and operated by region, businesses in the region positively grew. Also social culture and arts education support projects that focus on the region also expanded. This study will conduct an analysis about the substantiality of activities of culture and arts education organizations in the Gyeongbuk area and discuss what there needs to be for continuation of support organizations and how to promote this, in conjunction to the current support business system. For the target of study, the discussion will progress focusing on the cases of regional specialized culture and arts education support business and find arts field culture and arts education program and organization that participated in the Ggumdarak Toyo Culture School support business. Looking at art with expression could be seen as the intent to change the interest and compassion and the form of life of the person participating in the program. Also can be seen that their evolved appearance could be from the change from the concept of ‘learning’ to ‘enjoying’. Like this, in the change of perspective of culture and arts education, there needs to be intent of continuous thought and change. Those efforts guarantee continuous support from support businesses and cultural and artistic growth of the organization. For anyone to be able to easily enjoy, experience, and learn culture and art in their life culture to improve their self-esteem and to strengthen social activity participation as a member of local society with culture and arts education is a medium, and establishing a foundation for social integration between various classes and generations with understanding and communication are what social culture and arts education aims for. The purpose of region specialized culture and arts education support business is for the announcement of the enjoyment of culture and art by the local residents through operation of community-based culture and arts education program considering local cultural environment and resources, and the purpose of Ggumdarak Toyo Culture School is to nurture creativity and personality of adolescents and youths and provision of healthy leisure culture by providing expansion of afterschool culture and arts experiences. These two businesses are culture and arts education support businesses for regional society activation the testing role of supporting culture and arts education that fits the characteristics of the region. With more experience of support businesses one notices the deepening of depth of philosophy about culture and arts education and the change of perspective of looking at culture and arts education. For a culture and arts education organization to increase internal strength and continue operation, there needs to be a philosophy about culture and arts education and the members of the organization such as the director and the instructors must share the vision. It is important to carry out the roles according to the vision of the organization and to have the strength to continue the activity. If activities are done according to the philosophy of culture and arts education and if the support business adequately plays the role of support within those activities, there will be continuous growth and substantiality of culture and arts education organizations. The continuous activities of culture and arts education organizations is for the activation of social culture and arts education in the region.

문화 문해력을 위한 문화예술교육의 지향점 고찰 - 연극 분야의 교육목표에 대한 비판적 분석

김기란 한국 리터러시 학회 2020 리터러시 연구 Vol.11 No.6

In this article, the goal of culture and arts education in the field of theater was examined among the <Culture and Arts Education Standards> prepared by the Korea Culture and Arts Education Promotion Agency in 2011, and critically considered it in terms of cultural literacy to cultivate ethical values. There are two viewpoints ; one of which is that the being of culture and art itself is the purpose of education, and the other is the instrumental viewpoint to implement the meaning and goal of education by utilizing the inner principle of culture and arts. They are tightly opposed, so discussions to define the identity of culture and arts education are active. In this article, the premise and meaning of culture and arts education are considered not for art experts but for general education. In addition, the purpose of culture and arts education in the field of theater is examined from the point of view that culture and arts education should be a basic social learning and education in our lives through the value and meaning of the existence of culture and arts that can not be replaced. The goal of culture and arts education regarding the field of theater from the <Culture and Arts Education Standard> is set by combining vertical and horizontal cultural activities, but it is possible based on vertical learning that analyzes and understands performance works that have already completed the goal of education. This is because it contains contents that analyze and create and appreciate theatrical works through the internal components of theater such as language and movement, stage elements of theatre, auditory elements, and visual elements, and expand them into self-expression through words and movements. This seems to encompass both artistic achievement and educational practice, which is the two perspectives that culture and arts education aims at at first, but it does not contain the essential value of the art genre of theater that has evolved into various styles. In this article, the transfer or sharing of sensibility(empathy) is assumed as the unique irreplaceable essence of theater, and based on this, the educational orientation of culture and arts education in the field of theater was considered. Especially, I examined the social mimesis connecting to social behavior that embodies sensory perception based on self-reflection as my own and affect that operates as a power of self-change. If it is the learning of cultural literacy and the goal of culture and arts education to enjoy the culture and arts actively and to use it as a means of self-expression and social communication, it is necessary to share the socio-cultural context and problem consciousness in the process of making theatre and to experience them with moral aesthetics through self-reflection. To do this, there must be various theatres selected for learning culture and arts, especially we must overcome the narrow genre perception that theatre is drama. If culture and arts education should promote horizontal cultural activities and cultivate moral and ethical aesthetics that only art can do, it is necessary to explore and study learning materials that meet the identity and goals of culture and arts education rather than resting on stable objects familiar to the instructor. 글에서는 2011년 한국문화예술교육진흥원이 마련한<문화예술교육 교육표준> 중 연극 분야 문화예술교육의 목표를 살펴보고,그것을 윤리적 가치를 함양한다는 문화 리터러시의 측면에서 비판적으로 고찰했다.문화예술 자체가 교육의 목적이 된다는 관점과 문화예술의 내적 원리를 활용하여 교육의 의미와 목표를 구현하려는 도구적 관점이 팽팽히 맞서며 문화예술교육의 정체성을 규정하려는 논의가 활발하다. 이 글에서는 문화예술교육의 전제와 의미가 예술전문가를 위한 교육이 아닌 일반인을 위한 보편적 교육의 차원에서 이루어진다는 점을 염두에 두고,문화예술교육은대체불가능한 문화예술만의 존재가치와 의미를 통해 우리 모두의 삶에서 기본적인사회적 학습이자 교육이 되어야 한다는 입장에서 연극 분야 문화예술교육의 목표를살펴보았다. <문화예술교육 교육표준>중 연극 분야 문화예술교육의 목표는 수직적 문화 활동과 수평적 문화 활동이 결합되어 설정되어 있지만,교육의 목표가 이미 완성된 공연작품을 분석하여 이해하는 수직적 학습을 바탕으로 가능한 것들이다.연극의 내적 구성 요소인 언어와 움직임,연극의 무대적 요소,청각적 요소,시각적 요소를 통해 연극작품을 분석하고 만들고 감상하고 그것을 말과 움직임을 통한 자기표현으로 확장하는 내용을 담고 있기 때문이다.이는 일견 문화예술교육이 지향하는 두 가지 관점 곧예술적 성취와 교육적 실천 모두를 아우르는 것처럼 보이지만,다양한 양식으로 진화해 온 연극이라는 예술 장르의 본질적 존재가치를 담아내지는 못한다. 이 글에서는 공감,곧 감각의 전이 혹은 나눔을 연극만의 고유한 대체불가능한 본질로 전제하고 이를 바탕으로 연극 분야 문화예술교육의 교육적 지향점에 대해 고찰했다.특히 자기성찰을 바탕으로 감각적 지각을 나의 것으로 체현하며 사회적 행동으로 연결하는 사회적 미메시스,자기변화의 동력으로 작동하는 정동상태의 측면에서 살펴보았다. 문화예술을 능동적으로 향유하고 자기표현 및 사회적 소통의 수단으로 활용하는것이 문화 리터러시의 학습이자 문화예술교육의 목표라고 한다면,연극이 만들어지는 사회문화적 맥락과 문제의식을 공유하고,그것을 자기성찰을 통해 도덕윤리적 심미력으로 구성하는 과정을 경험하도록 해야 한다.이를 위해서는 문화예술 학습을 위해 선택되는 연극이 다양해야 한다.특히 연극은 곧 드라마라는 편협한 장르 인식을극복해야 한다.문화예술교육이 수평적 문화 활동을 추동케 하고,예술만이 가능케하는 도덕윤리적 심미력을 함양케 해야 한다면,교수자에게 익숙한 안정된 대상에 안주하기보다,문화예술교육의 정체성과 목표에 맞는 학습 재료를 탐구하고 연구하는자세가 우선 요구된다.

지역문화예술교육 현황 및 정책 연구 : 창원시 문화예술교육을 중심으로

유영재(Young-Jae Yoo) 대구과학대학교 국방안보연구소 2020 사회융합연구 Vol.4 No.3

지역문화예술교육 내실화 및 활성화 방안으로 문화예술교육에 대한 관심과 요구가 높아지고 있으며, 다양한 문화예술교육 프로그램과 정책들을 추진하고 있다. 본 연구는 창원시의 문화예술 프로그램에 대한 현황을 파악하고 지역문화와 연계방안을 제시함으로써 지역문화예술교육의 질 제고에 기여하기 위함이다. 이를 위해 지역문화예술교육에 대한 문화예술교육강사와 수혜자의 인식 및 요구사항 등을 조사하였다. 지역 내의 문화예술교육 현장에서는 지역적 특성을 반영한 지자체의 내실 있는 운영 프로그램이 요구되고 있으나, 지금까지는 예술교육 사업현황과 효과 분석을 위해 진행된 설문조사는 전국이나 경남도 단위로 실시되어 지역 현황을 파악하는 데 한계가 있었다. 이번 연구에서는 2018년에 실시한 창원시 문화예술교육강사, 수혜자 대상 설문조사 결과를 토대로 지역문화예술교육의 효과, 문화예술 향유 및 활동, 문화예술교육 활성화를 위한 개선사항과 지원 방안에 대해 살펴보았다. 이를 통해서 지역문화예술교육 실현을 위한 지역문화예술교육협의체의 필요성을 도출할 수 있었으며, 지역문화예술교육강사의 처우 개선 및 연수, 지역을 연계한 교육프로그램 개발, 예술 및 체험 프로그램, 지역문화예술교육 활성화를 위한 예산 지원 등의 시사점을 제시하였다. 이는 창원시 문화예술교육 현황 및 정책 연구라는 점에서 향후 지역문화콘텐츠를 활성화하고, 지역문화예술 정책 논의에 기여할 것이다. To internalize and promote local culture and arts education, interest and demand for culture and arts education are increasing. There are various cultural and artistic education programs, and policies are being promoted. The purpose of this study is to enhance the quality of local culture and arts education by identifying the current status of cultural and artistic programs in Changwon City and suggesting ways to link them with the local culture. For this purpose, the recognition and requirements of the instructors and beneficiaries of culture and arts education were researched. Although substantial operation programs of local governments reflecting regional characteristics are required at cultural and artistic education sites in the region, surveys conducted to analyze the current status and effectiveness of arts education projects have been held nationwide or in South Gyeongsang Province, which made it difficult to figure the current status of the region. Based on the results of a survey conducted in 2018 on culture and arts education instructors and beneficiaries in Changwon, this study looked at the effects of local culture and arts education, cultural and artistic enjoyment and activities, and improvements and support measures to promote culture and arts education. This led to the need for local culture and arts education council and suggested approaches such as improvement and training of local culture and arts education instructors, development of regional education programs, needs of arts and experience programs, and budget support for promoting local culture and arts education. Given that this is a research on the current status and policies of culture and arts education in Changwon, it will promote local cultural contents in the future and contribute to discussions on local culture and arts policies.