公共 公演場의 運營 改善方案 硏究 = (The)study for improvement of public event venue management

다국어 초록 (Multilingual Abstract)

ABTRACT
The Study for Improvement of Public Event Venue Management

Moon, woong
Dept. of Performing Arts
Graduate School of Sungkyunkwan University
Major in Arts Management


Public event venue usually means public theatre which is either established or run by central or local governments. Public event venues should fulfil their purpose by providing joyful and useful art performances to residents or citizens. In the mean while, these event venues should act as bases for the people to create art and to provide space for creating social activities. These venues should be managed in tight budget while managing all the cultural art programs reasonably and effectively.

Research data from NACAC (National Association of Culture and Arts Centers) shows that among 234 local governments throughout Korea, 170 local governments own cultual art centers in the research was condoned at April, 2006. Since Korean government has a plan to build one cultural art center per a local government, all local governments will have their own cultural art center in a few years. Currently these local cultural art centers' budget reaches 4 to 5 trillion won per year. This study aims to discover various problems related to the operation of these public event venues and future issues and to present solutions for these problems.

Most of public event venues are managed by local cultural art centers. As this study's scope is very limited, research observation is limited to Daegu Metropolitan city, Gwangju Metropolitan city and Buchun. These cities are selected as these can represent south-east and south-west parts of Korea and Seoul Metropolitan area, and each of three cities' management systems are different from one another. In Daegu metropolitan city, major appoints a civilian expert as a chief director. In the meanwhile, Gwangju metropolitan city place its high class official(a fourth class secretary) as a chief director of local cultural art center, while on Buchun, a civilian, standing executive director commands all cultural art programs. Event venues are sun by human. Therefore the directors of these should place their priorities on how to manage these places effectively while maintaining the establishment purposes of these.

This study uses and apply a society research method; including in-site research, analysis from various prospects, diagnosis for presented situation, and alternative plan making. Also it takes the operation and management examples of Japanese public event venues as a reference. Since Japanese culture is vary similar to Korean culture, it makes a good reference source.
The researcher of this study has evaluated these three regions using collected and reviewed data.

First of all, management issues are evaluated, Daegu and Gwangju doesn't guarantee consistency in terms of revenue and budget. cultural art centers of these belong to city government body, so the financial statues of these fluctuate following thew financial condition of city government. Therefore although these cultural centers spend considerably large amount of budget, event budget should be determined at least a year prior to actual event date. Also since the directors of these cultural art centers appointed by major. Although civilian takes chief director's position in Daegu, he or she has to be appointed, so the appointee doesn't have independent power. Under the current political atmosphere in Korean politics, majors and governors are tend to be changed or replaced so often, In the current condition, directors tend to care about major's personal taste and interest chains. Even directors with deep expertise in their work can't totally ignore and take his or her own management policies.

Compared to these two cities, Buchun, which had converted its management system to cultural art foundation system 5 years ago, showed much stabilized management implementation in terms of management system. Buchun Cultural Art Foundation uses its budget independently following Foundation Law, so it can continue more consistent and well planed cultural art programs. Although major, who also sits on chief of directors position concurrently, appoints a managing director (or chief director), the appointee should be agreed at the board of directors. Therefore this system has more strengthened filtration process. Also the managing director has a independent power throughout his term according to Foundation Law. Buchun Cultural Art Foundation is the first cultural art foundation established by local municipal government. It is a good role model for other local governments.

Second of all, there are big differences in terms of operation management implementation, Daegu has 81 employees and 376 in-house organization members, Gwangju has 58 employees and 291 organization members, and Buchun doesn't have any in-house organization member, but its Cultural Art Foundation has 45 employees. The labor costs of three region varies one another. When labor costs are added to operation costs, total public event budget for Daegu reaches 1.4 billion and 68 million won, that of Gwanju reaches 10.4 billion and 83million won, and Buchun has 5.7 billion and 58 million won in their budget in the year of 2004. Especially in-house organizations take large portion of the operation costs, so operation management of these organizations, quality and creativity of their performance should be throughly checked and criticized.

There are many other issues to be dealt with in terms of operation management such as employee expertises, effort for management improvement, in-house program operation and its quality, volunteer program and the operation of membership program and its contribution. However considering only the annual programs, even though Buchun spent less budget with fewer employees, its Cultural Art Foundation has been more successful in reaching to residents and being friendly with these.

This research's third concern is resident participation. Buchun Cultural Art Foundation showed outstanding successes. From the year of 2001 till 2004, it hosted 30 performance events under the motto of 'giving energy to life'. From the fall of 2003, these events are expended to regular seasonal performance events. It adopted more variety of genres with increased number of events (44 events). It held Saturday Music Festival at the last Saturday of month. To facilitate mutual understanding between musicians and audiences, the organizers of this festival explained about the music and helped musicians to talk with audiences. Also its Children's Theater has hosted 2,002,460 audiences from 2001 till 2004. It has held 17 special events for low income residents from 2003 to 2004. These events are held in low income residential areas. Considering the facts discussed above, although Buchun doesn't have any dedicated in-house organization and its total budget is lower than that of Daegu and Gwangju, its operation management and program quality shows no degradation.

How can we improve public event venues in current condition? How can we solve current problems? On the basis of researching these three regions, the research suggests solutions which satisfies three aspects of operation management; operation body, operation management, and user's participation.

First of all, in aspect of operation body, new concepts should be discussed and adopted in terms of establishment purpose. Consideration priorities should be given to 'Whom', 'Why', and 'How' rather than 'Who', 'Where' and 'What'. Most of the observed regions showed low utilization of cultural art center, low resident participation, low number of performances and the number of performances that is played. Most of regions showed lack of efficiency in terms of operation body. Therefore replacing an operation body is a reasonable way to improve public benefits and operation efficiencies. This new system should be equipped with more independence and responsibility of operation body.

Cultural art foundation type of system means that a cultural art foundation, established by local government, runs local cultural art center and public event venues. Although this system is not a panacea for every symptoms, but it certainly is a recommendable system which guarantee independence and responsibility of organization. As mentioned earlier in introducing of 'Korea Culture & Tourism Policy Institute Report', Buchun Cultural Art Foundation has a vary positive operation system. Also Sejong Center in Seoul and its in-house organization, music orchestra, have been converted into cultural art foundation system. Although these changes are little late, these are revolutionary changes to keep up with new trends. Therefore this paper presents 'cultural art foundation type of system' as a adequate solution in terms of operation body.

In the prospects of operation management, this research used the scope of non-profitability of public event venue and venue types to find a solution. Whole system should be restructured to reduce costs on basis of more sophisticated and reasonable personnel deployments. Most of these local cultural art organizations have too many in-house organizations under their control without considering financial condition of the region. This inadequate structure accompanied financial difficulties, quality degradation of program, and delaying of new performance delivery. In consequence, the local cultural art centers became prisoners of their own in-house organizations. Therefore if a cultural art center really need in-house organizations, it should reduce the number of organizations and improve the management of organization. In-house organizations better be converted into independent cultural art foundations depending on their capability and necessity. Also it is possible that contracting a civilian art performance organizations as a in-house organization of event venue for certain period.

New management methods should be adopted to improve fund raising, marketing and internet marketing. Also planning function should be established. The total proportion of Cultural art center's annual program should be planed in planning stage. This total proportion should be set in consideration of available budget, expected income, and possible fund raising amount. The management body should decide which program will use obtained independent projects. Genre allocation should be conducted in reasonable method. Management body should decide the quality and level of independent program and its own capability to produce such programs.

Local cultural art performance groups are major providers of cultural art content. suppliers and demander (users) are mutually indispensable each other. without supplying good performance content, no good audiences can be generated and the ideology and management of local cultural art center will be dispersed. Also local cultural art organizations are roots of local culture. Therefore the production of new cultural art content commands great importance. At least one cultural art content should be generated per two years. The development of new content can be conducted by either in-house organizations or civilian organizations. The content should be planned to be performed for a long term. If a cultural art center doesn't have any in-house organization, it can contract civilian organizations to develop one or two contents.

In terms of resident participation, local cultural art center is a special place which acts as a cultural center, cultural symbol and a hall for creating culture. Oddly residents of particular region become audience. It is a place for democracy built on premise of the participation of residents. Local cultural art center's goals and targets are related to 'building a region'. Also its participants and users have special relationship. Management body should recognize this extraordinary characteristics of local cultural art center to avoid management failure. Local cultural art center is an art education academy as well as service providing place of which management efficiency can be increased through residents' participation.

Resident participation type of event venue means that majority of residents use the venue frequently with keen friendliness. Also this place should provide low cost services with easy accessibility and convenient transportation accesses. Also it should be able to create and perform a cultural art performance content whenever residents want. Not only it should be capable of supplying healthy repertories upon the requests from residents frequently, but also it is a place for the goodness of public which provide feeling of happiness to local residents all the time.

Finally, cultural art centers should take one step further. These centers should be modified to act as the base for international cultural exchange. If local government want to invite foreign cultural art content, its cultural art center should play a vital role in doing so. Local government's the most important policy is to promote its region and products throughout the world and to give strong impression to foreigners using its regional culture. Korea should promote not only its metropolitan-centered culture, but also its more regional and traditional common culture and potentials thereof throughout the world.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 문제제기 및 연구목적 1
• 2. 연구방법과 대상 4
• Ⅱ. 연구의 이론적 배경 7
• 1. 공공 공연장의 역할 7
• 2. 공공 공연장의 운영 10
• 3. 운영의 개선방향 12
• Ⅲ. 3개 지역(대구시, 광주시, 부천시) 문예회관 비교분석과 평가 16
• 1. 운영 주체적 측면 16
• 1) 문예회관 현황과 설치조례 16
• 2) 통괄 책임자(관장) 18
• 2. 운영 방법적 측면 20
• 1) 조직과 인원 20
• 2) 전속단체 23
• 3) 세입과 세출 25
• 4) 기획홍보와 자체공연 30
• 5) 입장료, 대관 및 기타수익 33
• 3. 이용자의 참여적 측면 34
• 4. 3개 지역 문예회관 종합평가 37
• Ⅳ. 운영 주체적 측면에서 필요한 개선방안 41
• 1. 설립목적의 재검토 41
• 2. 문예회관 이용률 42
• 3. 지역별 공연상황 45
• 4. 운영의 독자성과 책임 47
• 5. 일본의 운영주체와 문화재단 49
• 6. 서울시 문화재단 53
• 7. ‘문화재단형’운영제도의 도입 55
• Ⅴ. 운영 방법적 측면애서 필요한 개선방안 59
• 1. 비영리적 범주와 영리적 범주 59
• 2. 공연장의 유형 61
• 3. 인건비 절감 64
• 4. 전속단체에 대한 성찰 67
• 5. 상주단체 70
• 6. 예술경영 방법의 활용 71
• 1) 재원조성 71
• 2) 마케팅 74
• 3) 인터넷 마케팅 76
• 7. 기획기능의 확립 77
• 1) 공연기획 77
• 2) 3개 지역의 실태 80
• 3) 일본의 자주사업 82
• 8. 신작 개발을 위한 대비 84
• 1) 신작 개발의 단계별 준비 84
• 2) 3개 지역의 실태 89
• 3) 일본 오이타시의 오페라 개발 91
• 9. 문화예술진흥기금의 배분 문제 93
• 10. 경영합리화형’운영 방법의 수립 94
• Ⅵ. 이용자의 참여적 측면에서 필요한 개선방안 97
• 1. 지역 주민으로서의 관객 97
• 2. 생애학습으로서의 예능교육 99
• 3. 자원봉사제 101
• 4. ‘주민참여형’ 운영자세의 확립 103
• Ⅶ. 결론 106
• 參考文獻 112
• ABSTRACT 119