박물관 건립에 나타난 문화정책 프로세스 특성 연구 -서울시 박물관 문화정책을 중심으로-

박세희 ( Park Sehee ),윤재은 ( Yoon Jaeeun ) 한국공간디자인학회 2021 한국공간디자인학회논문집 Vol.16 No.8

(Background and Purpose) With the development of digital technology in the era of the Fourth Industrial Revolution and the recent COVID-19 pandemic, existing museums, which focused on the physical space, are improving roles and functions, in line with the changes. The museums that have been opened in recent years have often aimed at continuous operation. Therefore, the direction of cultural policy and museum policy is changing, which have a significant influence on the museum construction policy. The purpose of this study is to analyze the current status and the condition of museum construction policies in Seoul through theoretical considerations of cultural policy and domestic museum policy, and to study the characteristics of the museum's cultural policy process. (Method) The subjects of the study are the Seoul Museum of Korean Folk Music, the Seoul Urban Life Museum, and the Seoul Museum of Craft Art, which were recently opened, as part of the 14 institutions that the Seoul Metropolitan Government had aimed to open since 2016. First, research on the concept of cultural policy and the construction of a museum is conducted by analyzing previous studies. In addition, it analyzes the characteristics of the policy process that appeared in the construction of the museum according to the Seoul Metropolitan Government's cultural policy by referring to internal documents, research, and presentation materials. (Results) This study analyzed the policy categories and the systems of Seoul's cultural policy and the museum policy to derive the characteristics of the cultural policy process that appeared in the construction of the museum based on the recent case of museum construction in Seoul. The categories of region, city, community, and individual were high or medium depending on the characteristics of the region or museum content, and all administrative categories were low. Four visions: Culture Regeneration, Culture Creation, Cultural Sovereignty, and Cultural Symbiosis were apparent in all cases, and the museum construction process has expanded and reduced according to detailed projects or project size, although the analysis can be largely categorized into four stages. (Conclusions) If the policies put forth by national and public institutions not only inform, but also prioritize individual citizens, take care of regions and cities, pursue cooperation without being bound by outdated administrative procedures, the museum's cultural policy is expected to be completed in the future. In addition, various museums suitable for the urban context such as content characteristics and locality are expected to be located.

통합적인 박물관 정책을 위한 거버넌스 개선방안 연구

양현미 한국문화관광연구원 2023 문화정책논총 Vol.37 No.1

This study examines the current status and problems of diverse museum policies and derives policy tasks for establishing an integrated museum policy governance. The study's scope includes five ministries administering six museum acts and twenty-three ministries that established and operated national museums according to the International Council of Museums' definition of a museum. The analysis revealed that policy differentiation by department led to the quantitative expansion and professional development of museums; however, the qualitative level of operation based on the common identity of museums did not develop in a balanced way. An integrated museum policy agenda is required to improve the quality of operations, set goals for museum expansion, nurture and deploy professional personnel, and respond jointly to future changes. To examine the governance model for integrated museum policy, the United States, France, and the United Kingdom's museum policy governance were analyzed. The United States has a unified governance model, whereas France and the United Kingdom have a dualized museum governance model for living and abiotic materials. Given that Korea's museum policy governance is more subdivided than that of overseas cases, and the level of cooperation between ministries is low, a step-by-step governance improvement plan was proposed. In the short term, cooperative governance based on administrative cooperation between ministries was proposed by dividing museum groups into living and non-living materials, as in France and the United Kingdom. Based on this collaboration between ministries, developing more integrated policy governance in the mid-to-long term, such as the National Museum Policy Committee and the National Museum Promotion Agency in the United States, is necessary. 이 연구는 부처별로 분산되어 추진되고 있는 박물관 정책의 현황과 문제점을 살펴보고, 통합적인 박물관 정책을 위한 거버넌스 개선방안을 제시하고자 한다. 연구범위는 국제박물관협의회의 박물관 정의에 따라 박물관, 문학관, 과학관, 동물원, 수목원, 생물자원관 등 6개의 법률을 관장하고 있는 5개 부처와 국립박물관을 설립ㆍ운영하고 있는 23개 부처를 대상으로 하였다. 분석 결과, 부처별 정책의 분화가 해당 분야 박물관의 양적 확대와 전문적 발전을 가져왔으나, 박물관 공통의 정체성에 입각한 운영의 질적 수준은 균형있게 발전하고 있지 않은 것으로 나타났다. 부처간 통합적인 박물관 정책이 필요한 의제는 운영의 질적 수준 제고, 박물관 확충 목표의 통합 설정, 전문인력의 양성과 배치, 박물관의 미래 변화에 대한 공동대응이다. 통합적 박물관 정책을 위한 거버넌스 모델을 살펴보기 위해 미국, 프랑스, 영국의 박물관 정책 거버넌스를 분석하였다. 미국은 일원화된 거버넌스 모델이고, 프랑스와 영국은 생물자료와 무생물자료에 따라 이원화된 거버넌스 모델을 보여주었다. 연구자는 우리나라의 박물관 정책 거버넌스가 해외사례에 비해 더 세분화되어 있고, 부처간 협력수준이 낮은 상태임을 감안하여, 단계적인 거버넌스 개선방안을 제시하였다. 단기적으로는 프랑스 및 영국과 같이 생물자료와 무생물자료로 박물관군을 나누어 부처간 행정협업에 기반한 협력적 거버넌스를 제안하였다. 행정협업과제로 박물관 평가인증제 확대, 국립박물관협의회 설치, 전문인력의 양성과 배치, 박물관 통계 및 실태조사의 공동추진 등을 제시하였다. 이러한 부처간 협업을 기반으로 중장기적으로는 국가박물관정책위원회와 국립박물관진흥원 등 미국과 같은 보다 통합적인 정책 거버넌스로 발전시켜 나갈 필요가 있다.

뮤지엄 브랜드화 정책과 소장품 운영 방식의 변화: 구겐하임 빌바오 미술관과 루브르 아부다비 사례를 중심으로

신상철(Shin Sangchel) 한국박물관학회 2019 博物館學報 Vol.- No.36

1997년에 개관한 구겐하임 빌바오 미술관은 세계 뮤지엄 정책의 큰 변화를 가져온 중요한 기점이 된다. 구겐하임 빌바오 미술관은 독립적 조형성을 표출하는 뮤지엄 건축의 중요성을 부각시키며 건축의 조형적 가치가 뮤지엄이 표방하는 문화 기관으로서의 이미지를 강화시키는데 기여한다는 점을 인식시켜주었다. 또한 구겐하임 빌바오 미술관은 서구 주요 뮤지엄들의 브랜드화 정책을 확산시켰다는 점에서도 매우 중요한 사례가 된다. 뮤지엄 브랜드화 정책은 뮤지엄의 대외적 지명도를 토대로 하여 브랜드 가치를 강화하고 이를 통해 세계 주요 도시에 분관을 설립하는 전략을 의미한다. 2017년 11월 아랍 에미레이트 연합의 수도 아부다비에 개관한 루브르 아부다비는 일종의 루브르 박물관의 브랜드 명성에 기초하여 설립된 루브르 박물관의 해외 분관이라고 할 수 있으며 프랑스 국립박물관 소장품 운영 전략의 변화를 단적으로 보여주는 사례이다. 프랑스 정부는 국공립박물관 소장품의 양도불가성 원칙에 근거하여 박물관이 소장하고 있는 유물의 소유권을 양도할 수 없도록 규정하고 국공립 박물관의 소장품 운영 방식에서 공공성의 가치를 최우선으로 내세워왔다. 하지만 루브르 아부다비 건립 과정에서 나타난 프랑스 국립박물관 소장품의 유상 대여와 이에 기반을 둔 해외 분관 설립 작업은 그동안 국제 문화교류 차원에서 진행되었던 소장품 대여 및 교류전 개최의 차원과는 매우 다른 새로운 양상의 소장품 운영 방향을 예시해주고 있다. 본 논문에서는 구겐하임 빌바오 미술관과 루브르 아부다비 사례를 중심으로 하여 뮤지엄 브랜드화 정책의 특징과 운영 현황 그리고 문제점에 관해 논하고자 한다. The Guggenheim Bilbao Museum, which opened in 1997, presents an important starting point for major changes in world museum policies. The Guggenheim Bilbao Museum emphasizes the importance of museum architecture that expresses an independent formality as itself and impresses that the formative value of architecture contributes to strengthening the image of the museum as a cultural institution. In addition, the Guggenheim Bilbao Museum is an important example in that it has expanded the branding policy of major museums in the West. The museum branding policy refers to a strategy to strengthen brand values based on the public recognition of the museum and establish a branch in major cities around the world. Opened in November 2017 in Abu Dhabi, the capital of the United Arab Emirates, Louvre Abu Dhabi is an international branch of the Louvre, founded on the basis of the brand reputation of the Louvre and exemplifies a change in the strategy of the collection loan programs of the national museums of France. The French government has stipulated that the ownership of museum collections can not be transferred on the basis of the inalienable principle of collections of the national museums of France, and the value of public concern is the highest priority in the way of managing the collections. However, the collection loans and the establishment of an overseas branch of the national museums in France during the process of constructing the Louvre Abu Dhabi have been carried out in a way that was very different from the level of collection loans and interchange exhibitions held in accordance with international cultural relations. In this thesis, it will be closely discussed the characteristics, operational status and drawbacks of the museum branding policy, focusing on the cases of the Guggenheim Bilbao Museum and the Louvre Abu Dhabi.

전국 공립박물관의 전시 현황과 그 배경에 관한 연구

전인미(Ihnmi, Jon) 현대미술사학회 2011 현대미술사연구 Vol.0 No.30

Local Autonomy of Korea started with the election for Local Council in 1952 by Local Government Act according to Decree no. 32 dated July 4th, 1949. It was interrupted by the 5.16 military coup, and reintroduced after 30 years’ absence with the election forthe head of local government and local council performed in July 27th, 1995. The central government tried to make the reintroduced Local Autonomy as a chance for the reformation of cultural environment as well as the change of administration at that time when economy of the country was stabilized and concerns for the culture were rising. ‘The reformation of cultural environment’ the central government expected signified equal improvement of the level of cultural enjoyment, and for this, the central government continuously emphasized expansion of the cultural infrastructure such like a museum and an art museum. The other hand Local government tried to use a museum as a strategy for local characterization to advertize its region. Local governments started to unearth their typical cultures distinguished from other regions and developed new materials with a financial support of the central government, and built museums for these materials competitively. The increasing rate of the number of public museums compared with the previous year reached a record by the effort of the central and local governments in 2001, and the goal for the construction of 500 museums by 2010 was performed already in 2007. But poor administration, neglect, and corruption concerning the collection occurred and started to be pointed from 2003 with a rapid increasing the number of museums, and actual condition investigation for theme museums by the Board of Audit and Inspection showed gravity of the problems of the public museums. The reason why the problems occurred repeatedly is that they just suggested the improvement direction under the focus at the efficiency of construction business with overlooking the importance of exhibition, the main function of a museum. This research was conducted on the assumption that the first cause of the problems of the museums was originated from the policy and plan for the expansion of museum. From the implementation of Local Autonomy the central government encouraged museum construction business by implementing the supporting policy for museum construction with reforming cultural administrative organization and method of the management of cultural financing. The function as ‘Committee’ in which various opinions of various people are accepted equally was not achieved well in the cultural administrative organization as intended. Furthermore, the fact that the administrative deputy mayor appointed by the central government without direct relationship with culture or art had the biggest power to decide whether they did the business or not raised a problem of lack of professionalism at planning and procedure of museum construction. Also, Museum and Art Museum Promotion Law in Korea does not impose legal controls on establishment of the collection policy, and the standard for prioritizing museum construction business do not include the question of ‘Do they have something worthy of display?’ For this reason there is no one among the public museums doing collecting activities based on definite collection policy. On the contrary, Expert employment of museum was signed into law at the time of the amendment of Museum and Art Museum Promotion Law in March, 2003. Nevertheless, 46% of the museums operating currently does not hire the curator with the certificate, and 36 museums does not have a person concerning the curating. And the level of curator is divided into 4 steps by law, but all the people working at the museum are just called curator. This thesis was based on the comparison between records of culture infrastructure manual published by the Ministry of Culture, sports and Tourism and the results of the real door-to-door inquiries. Current si

1970년대 문화정책과 박물관의 전시양상 -한국민속박물관 건립을 중심으로-

김재영(Kim, Jae-Young) 고려사학회 2020 한국사학보 Vol.- No.79

전시는 기획된 메시지를 시각적 자료를 통해 전하는 매체이다. 역사적으로 전시는 정치적 표상을 지배하는 권력관계를 보다 직접적으로 대중에게 전달하는 기재로 사용되어 왔다. 일제강점기 식민정책 수단의 하나로서 박람회 및 박물관에서 식민지의 이미지가 왜곡・변형되어 정치적으로 활용되었던 사례는 연구되었다. 그런데 탈식민지 이후 우리나라 박물관이 어떻게 형성되고 운영되어 왔는지, 식민지 유산이 어떻게 박물관에 투영되었는지에 대한 연구는 미진한 편이다. 이 글은 1970년대 민속박물관 설립과정에서 보인 전시 한계성의 예를 박정희 정권의 문화정책의 영향이라는 관점에서 살펴보았다. 1970년대 문화정책은 정신교육 강화, 관광 등의 방식을 통해 민족사관 정립과 전통문화의 개발 등의 목적을 지향하였다. 또한 박정희 정권은 문화정책을 외화획득이라는 경제개발의 또 다른 도구이자 정부시책의 선전 홍보 도구로 활용하였다. 민속박물관은 이 양자의 접점이자 주체의 시각을 특정한 제도에 맞게 수용시키는 장으로서 운영되었다. 그래서 1970년대 문화정책에 의해 국립민속박물관은 민속과 박물관의 개념이 규정되었고, 국가가 투영하고자 한 국민통합적 문화정책을 일방적 전시형태로 전달하게 되었다. 1970년대 문화정책이 투사된 민속박물관의 전시는 총체적인 민속을 보여주기보다 의도적이고 편향된 전통과 민족 문화의 전시양상을 나타냈다. 이상의 전시 의도와 구현은 식민지 박람회 및 박물관에서 이미지를 왜곡·변형하여 정치적으로 활용했던 방식의 연장이었다. 이러한 맥락에서 식민지 근대성이 탈식민지 이후 우리가 만든 박물관에 재현전화되었다고 본 것이다. The exhibition is a medium that transmits the planned message through visual materials. Historically, exhibitions have been used as a means to more directly convey the authority relations that dominate political representations to the public. As a means of colonial policy during the Japanese colonial period, there have been many studies on the cases where images were distorted and transformed and used politically at exhibitions and museums. However, research on how Korean museums have been formed and operated since the post-colonization and how the heritage has been projected has been lacking. This article looked at an example of the limitations of exhibitions shown during the establishment of the folk museum in the 1970s from the perspective of the Cultural Policy. In the 1970s, the Cultural Policy aimed at establishing national history and developing traditional culture through strengthening mental education and tourism. In addition, the Park Jung-hee regime used Cultural Policy as another tool for economic development called foreign currency acquisition and as a propaganda tool for policies. The Folk Museum was operated as a contact point between the two and accommodated the subject"s perspective according to a specific system. Thus, the concept of folklore and museums was defined in the National Folk Museum of Korea, and the nation"s integrated cultural policy aimed at projecting was delivered in a unilateral form exhibition. The exhibition of the Folk Museum, projected with Cultural Policy, showed an intentional and biased display of traditional and national culture rather than showing the overall folklore. The above exhibition intentions and realizations were extensions of the way politically used by distorting and transforming images at colonial fairs and museums. In this context, it was considered that ‘colonial modernity’ has been re-converted to the museum we built after post-colonization. In the 1970s, Cultural Policy influenced the exhibition patterns of museums, and examples were examined in the construction and exhibition contents of the Korean Folk Museum.

문화정책에 따른 중국 동북지역 박물관의 역할과 특징

양시은(Yang Sieun) 동북아역사재단 2020 東北亞歷史論叢 Vol.- No.69

중국 문화산업의 중요한 특징 중 하나는 국가적 이데올로기를 홍보하고 강화하는 수단으로의 문화사업과 소비 중심의 문화산업이 공존한다는 것이다. 문화정책의 수립과 집행은 중앙정부의 주도로 이루어지는데, 중국 정부는 제12차 5개년 규획 시기를 전후한 2010년부터 문화산업을 중국 경제의 기간산업으로 육성하겠다는 목표를 설정하고 관련 정책을 시행해오고 있다. 이에 이 논문에서는 중국 동북지역을 대표하는 랴오닝성박물관, 지린성박물원, 헤이룽장성박물관의 사례를 통해 중국 문화정책에 따른 박물관의 역할과 특징을 살펴보았다. 중국에서 박물관은 사회주의 핵심 가치관을 최우선으로 둔 애국주의와 민족주의를 강조하는 데 적극적으로 이용되어왔으며, 애국주의 교육기지로써 중화민족의 우수한 역사문화와 혁명전통을 보여주는 전시나 사회교육을 통한 적극적 홍보 방식으로 국민들의 애국심을 고취시키고 있다. 중국 동북지역 박물관의 여러 활동에서도 동북공정 이후 한층 강화된 중화민족주의를 쉽게 찾아볼 수 있다. 중국 정부는 공공문화 서비스 강화를 위해 2008년부터 박물관을 무료로 개방하고 있다. 무료 개관에 맞춰 전시와 홍보, 교육 기능을 강화함으로써, 자국민에게는 국가에 대한 자긍심을, 외국인 관광객에게는 중국의 역사와 문화를 홍보하는 창구로 박물관을 활용하는 것이다. 또한 박물관 등급제를 전격적으로 실시하여 5,350여 개가 넘는 박물관 중 일정 기준을 충족하는 850여 개 박물관의 품질을 관리하고 있다. 중국 정부가 문화 분야에 대한 전폭적인 지원을 10년 이상 지속하면서 중국박물관은 전례 없는 발전을 이루었다. 무료 개관, 박물관 수의 폭발적인 증가, 다양한 전시회 개최 및 청소년 교육을 위시한 각종 사회교육 활동은 관람객의 증대로 이어졌다. 또한 근래 중국에서 유행하고 있는 애국주의 기반의 홍색관광에서도 박물관은 중요한 비중을 차지하고 있다. One of the important characteristics of the Chinese cultural industry is the coexistence of cultural business and consumption-oriented cultural industry as a means of promoting and strengthening national ideology. The establishment and execution of cultural policies is led by the central government. Since 2010, around the time of the 12th Five-Year Plan for National Economic and Social Development, the Chinese government has set a goal of fostering the cultural industry as a key industry for the Chinese economy. In this paper, I took the example of Liaoning Province Museum, Jilin Province Museum and Heilongjiang Province Museum to look at the role and characteristics of the museum in Chinese cultural industry policy. In the 21st century, the Chinese government began to discuss cultural industry policies. In particular, museums in charge of public cultural services have become a main target of the policy. The museum has been actively used by the Communist Party of China to emphasize patriotism and nationalism, with the core values of socialism as a top priority. In China, the museum is a patriotic educational base, and it promotes patriotism to teenagers and visitors through exhibitions and social education of the excellent historical culture and revolutionary tradition of the Chinese people. In addition, the Chinese government has been implementing a policy to open museums free of charge since 2008 to strengthen public cultural services. And the government has made the museum’s exhibition, publicity, and education functions even stronger. So, the government has made the Chinese people feel proud of the country and the foreign tourists understand the history and culture of China through the museum. In addition, the rating system is implemented to manage the quality of museums by classifying from national first-class museums to national third-class museums. The government’s full support policy, which lasted more than 10 years, has brought about the unprecedented development of Chinese museums. Free opening, explosive increase in the number of museums, various exhibitions, and various social education activities such as youth education led to the increase of visitors to the museum. It is also confirmed that museums are an important part of the red tourism based on patriotism.

부천의 박물관 정책과 시립박물관 운영 및 전시 개선방안

이준일 한국문화관광연구원 2023 문화정책논총 Vol.37 No.2

This study focused on the establishment process of the Bucheon City Museum, which was established through a museum policy that Bucheon has implemented since the early 2000s. Ways to improve its operations and exhibitions are proposed. Regarding museum operations, the need for an independent operating system was raised from the beginning, when the museum was entrusted to the foundation. There is also the opinion that the consignment operation system of cultural foundations is less efficient because of the triple administrative structure involving local governments, cultural foundations, and museums. If it is difficult to establish an independent foundation, an alternative is to turn the museum into the foundation’s own business to secure operational efficiency and expertise. In the case of exhibitions, it was proposed that the aging display rooms be remodeled and utilized through a realistic improvement plan. The identity of “Bucheon” and “City Museum” can be supplemented with exhibitions that show the changes in history and culture, and the lives of the people of Bucheon, focusing on the modern and contemporary history of Bucheon. By including the policy process of the creation of Bucheon City Museum in the exhibition of modern and contemporary history, we will be able to increase our understanding of how and why Bucheon City Museum’s integrated pavilion was created. Regarding Bucheon City Museum’s role, it is necessary to concentrate on investigating and researching cultural resources. Investigations and research on cultural resources are essential for securing identity and reorganizing local exhibitions. Cooperating or connecting with local cultural and artistic resources or activities is the duty of a museum that has a public interest.

공립미술관의 법적 정의에 대한 재고찰

김지훈 한국법제연구원 2021 법제연구 Vol.- No.60

Museums and Art Museums Act was enacted in Nov. 30th, 1991, that was basically rooted in Museums Act passed in 1984 and substituted it. For the first time the newly enacted law manifested the legal conception of art museum but also public municipal art museum. According to Art Museums Act of 1991, public municipal art museum is established and run by local government. Museums Act defined the public municipal museum is the museum local authority founded. Museums and Art Museum Act is differentiated from its predecessor for stressing the managerial conception on public municipal art museum. After its legislation, the definition of public municipal art museum has never revised. Its legal conception changed only one time, when Museums Act was abolished and Museums and Art Museums Support Act adopted. In contrast, the definition of art museum has been modified twice until 2020, although they were not dramatic. In this study, I pose a question considering the appropriateness of the legal definition of public municipal art museums. The Korean society has experienced a variety of changes socially, economically, and politically after the enactment of the Art Museums Act. In accordance with Museums and Art Museums Support Act, public municipal art museum is conceptualized by 4 key words; art museum, local autonomous body, foundation, and management. Based upon the historical transition of art museum and local autonomy, and the reality of its establishment and management, I examine the extent how far its legal definition is suitable to embrace the public municipal art museums in practice. 1991년 11월 30일 「박물관 및 미술관 진흥법」이 제정된 이후 미술관에 대한 공식적인 법적 개념이 처음으로 제시되었다. 해당 법률에 의하면 공립미술관은 지방자치단체가 설립·운영하는 미술관으로서 공공미술관의 일종이다. 이후 「박물관 및 미술관 진흥법」은 수차례 개정되며 박물관과 미술관에 대한 개념도 조금씩 수정되었으나 공립미술관의 정의는 제정 이후 단 한 차례도 변경되지 않았다. 본 연구는 공립미술관의 법적 정의의 적절성에 의문을 제기하고 있다. 「박물관 및 미술관 진흥법」이 제정된 이후 한국 사회는 사회적·경제적·정치적으로 다양한 변화를 경험하여 왔다. 이러한 변화 사항을 현재의 공립미술관에 대한 법적 개념은 충분히 반영하지 못하고 있다고 판단된다. 「박물관 및 미술관 진흥법」에 의하면 공립미술관의 법적 개념의 핵심어는 ‘미술관·지방자치단체·설립·운영’이다. 미술관의 역사적 변천과 지방자치, 현실에서 이루어지고 있는 미술관 설립과 운영 실태를 바탕으로 공립미술관의 법적 정의의 적합성을 살펴본다. 그 결과 “지방자치단체가 소유한 미술관”으로서 공립미술관의 개념 수정을 제안하고자 한다.

지역 공립박물관 콘텐츠 개발과 활용-인제산촌민속박물관을 중심으로-

신창희,방문식 한국역사민속학회 2019 역사민속학 Vol.0 No.56

본고는 공립박물관의 현황과 문제점을 짚어보고 인제산촌민속박물관의 사례에 비추어 전시콘텐츠 개선 방안을 논해 본 것이다. 최근 박물관은 전통적인 유물의 보존과 전시에서 사회적인 역할을 강조하는 방향으로 나아가고 있다. 사회적 역할은 근대 시민사회가 형성되고, 1960년대 유럽에서 새로운 바람이 불면서 더욱 강조되었다. 한국에서도 정책적․정치적․문화적 환경이 변화하고 지역문화 활성화 바람이 불면서 지역 공립박물관이 많이 설립되고, 사회적 역할을 기대하게 되었다. 이 사회적 역할은 자본주의 체제 안에서 지역경제의 활성화 차원에서 논의되어 왔다. 그러나 지역 공립박물관은 문화기관으로서 본래 특성을 살리지 못한 채 지역민과 외부 관광객의 기대에 부응하고 있지 못하고 있다. 이에 본고는 기존 지역 공립박물관이 나아가야 할 방향으로 도시 씬(urban scene)에서 비롯된 박물관 씬(museum scene)을 설정해 보았다. 이 과정은 박물관시설, 주변시설, 콘텐츠, 전문인력 등 전반적인 변화를 요구로 한다. 현행 공립박물관에서 당장 적용하기는 어렵기에 박물관의 중심 콘텐츠를 조작함으로써 지역사를 통한 박물관 정체성 바로세우기와 교육적 목적에서의 사회적 역할로 풀어 보았다. 실제 사례로 인제산촌민속박물관 전시콘텐츠의 현황과 문제점을 브렌다 로럴의 6대 경험요소를 변형․참고하고, 동형화 이론으로 분석해 보았다. 이에 인제산촌민속박물관은 중심 콘텐츠의 방향성이 부재하고, 지역성과 멀어져 있음을 알 수 있었다. 본고는 실질적인 개선방향으로 박물관 설립목적에 적합한 중심 전시콘텐츠 선정, 지역적 장소성을 고려한 콘텐츠 개발, 그리고 콘텐츠의 확장과 전시연출의 다변화를 꼽아 보았다. 논고의 목적은 지역 공립박물관의 설립 당위성에 대한 의문을 일정 부분 해소하기 위함이었다. 특히 지역의 공립박물관이 다원화되고 있는 현대사회에서 지역문화를 바탕으로 실질적인 경제․문화․사회적 역할을 담당하는 문화기관이 될 수 있다. 본 논고의 서술은 그 가능성에 대한 전반적인 로드맵을 그려보고자 한 것이다. This research examines the current status and problems of the current public museums and discusses ways to improve the contents of exhibitions with the case of Inje Mountian Village Folk Museum. Recently, museums are shifting the focus from the preservation and exhibition of traditional artifacts to their social role. The social role has been more emphasized with the formation of modern civil society and the emergence of new trends in Europe in the 1960s. In Korea, the changes in the policies and political and cultural environments as well as the revitalization of local cultures have led to the establishment of a number of public museums, for which the social role is expected. This social role has been discussed in terms of the villagization of local economies within the capitalist system. On the other hand, local public museums have failed to show the genuine characteristics as cultural organizations, not being able to meet the expectation of local residents and tourists. In this regard, this research established a museum scene originated from an urban scene for the direction that existing local public museums should pursue. This process requires general changes in the museum facilities, surrounding facilities, contents, professional manpower, etc. Since it is difficult to be applied to the existing public museums, this research reorganized the core contents of museums to encourage them to re-establish the identity through the local history and play the social role for educational purposes. As an actual case, the current status and problems of the contents exhibited in Inje Mountian Village Folk Museum were analyzed based on the 6 experience elements by Brendan Laurel and isomorphism theory. As a result, it was revealed that Inje Mountian Village Folk Museum lacked the direction for the core contents and that it was far from the locality. As practical improvement measures, this research suggested selecting core exhibition contents suitable for the purpose of the establishment of the museum, developing contents by considering the regional location, and expanding exhibition contents and diversifying the exhibition displays and presentation. The purpose of this research is to resolve some of questions about the necessity of establishing local public museums. In particular, they can serve as cultural organizations that practically play the economic, cultural and social roles based on the local culture in the diversifying modern society. The description in this research was an attempt to roughly develop a general roadlamp on the possibility.

영월 박물관 고을: 박물관 클러스터로서의 성과와 과제

신자은 글로벌 문화콘텐츠학회 2020 글로벌문화콘텐츠 Vol.0 No.45

In Korea, culture has surged as the basis of regional development around 1995, with the advent of popular election in regional governments. Cultural clusters, an aggregation of cultural institutions, came to receive particular attention due to its effect on regional revitalization. In some local governments, establishing new museums has been selected as a strategy for culture-based development and in Yeongwol, this strategy manifested itself as a museum cluster named Yeongwol Museum County. Yeongwol started to develop the Museum County since the early 2000s as a project for revitalizing the area once known for coal-mining. Through a long-term plan executed by the local government, Museum County has become Korea's most well known museum cluster and now is designated as a special economic region comprising 23 museums. The rapid expansion in Yeongwol in the number of museums since 2000 can be considered as the result of the local government's policy of increasing the number of public museums as well as offering museum space to new private museums in order to facilitate their establishment in the area. Over the years, Yeongwol Museum County has led numerous aspects in local development, such as economic revitalization through increased tourism, promotion of the county's image, and educational effect on local residents. However, it still faces many challenges as a museum cluster: low accessibility and lack of transportation between museums, the poor financial and professional condition of private museums, unclear identity of the Museum County, lack of continuity in the local government's museum policy are among the most noticeable problems, In order for Yeongwol Museum County to fully achieve the synergy and regional development potential as a museum cluster, it needs to solve the government's hardware-based approach to museums, which led to the private museum's lack of professional workforce and poor educational and cultural programming in museums. Implanting a systematic governing structure based on cluster strategy and professionalization of local government administrators is also advised. 민선 지방자치제가 시작된 1995년 이후 국내에서는 지역발전의 동력으로 문화가 대두되었고, 이에 따라 문화기관의 집합으로 이루어진 문화클러스터의 지역개발적 가능성이 주목을 받으면서 문화벨트, 문화단지 등 다양한 이름으로 실천되었다. 90년대 후반에는 대부분의 지역에서 문화자원의 개발에 나섰는데, 몇몇 지역에서는 박물관을 지역특화의 전략으로 택하여 박물관 확충사업을 추진하였다. 이러한 배경에서 2000년대 초반 영월에 박물관 고을이 조성되기 시작하였다. 그 후 영월군은 장기적인 육성과정을 펼쳐 박물관 고을을 국내외적으로 한국을 대표하는 박물관 클러스터로 발전시켰다. 현재 영월군 전체에 걸쳐 총 22개의 박물관이 분포하고 있으며, 박물관 고을은 경제특구로서 다양한 규제완화의 혜택도 누리고 있다. 영월군에서 20여년의 기간 동안 이루어진 기관적 확충은 지자체에서 공립박물관을 증대하는 동시에 사립박물관의 설립을 촉진하기 위해 공간을 무상으로 지원하는 등 여러 지원책을 펼친 결과이다. 한국의 대표적 박물관 클러스터로서의 위치를 선점한 영월은 관광객 유입을 통한 경제적 활성화, 지역의 대외적 이미지 쇄신, 주민들의 자긍심 제고, 문화적 기회의 확대라는 효과를 거두었다. 이와 같은 긍정적 효과와 더불어 클러스터로서 여러 한계점도 보이고 있는데, 구성 기관간 물리적 이동의 어려움, 지속되는 사립박물관의 열악한 운영 실정, 개별 기관간 협력과 연계를 돕는 체계의 미확립, 불분명한 클러스터의 정체성, 지자체의 정책 및 사업적 연속성 관련 문제가 대표적이다. 박물관 고을이 박물관 클러스터로서 충분한 시너지와 대내외적 효과를 누리기 위해서는 기존 하드웨어 중심의 접근을 탈피하고 콘텐츠 개발 및 전문인력 확보, 클러스터 전략의 도입을 통한 운영체계 수립, 박물관 클러스터 사업 담당 행정가들의 업무적 관행 및 역량 개선이 요구된다.