인천국제공항 문화예술사업의 국내·외 이용객 만족도와 경쟁요인 분석

권병웅 한국예술경영학회 2013 예술경영연구 Vol.0 No.25

This research analyzes how the cultural performances at Incheon International Airport are acknowledged by both domestic and international visitors. The period for this research was from June 30th 2011 to June 29th 2012 (365 days). The contents were the satisfaction rate of the place, time, and contexts of performances and charming point of the airport through various performances. The survey is conducted at both first floor and duty free zone, with four different languages; Korean, Japanese, Chinese, and English. There are two types of analysis; frequency analysis and comparison analysis to know the difference among places and respondents. For comparison analysis, we conducted Independent T-test and One-way Analysis of Variance: ANOVA. As a result, male respondents satisfied more than female ones toward the place, time, and contents of the performances. Moreover, respondents from English language region satisfied more than those from the rest of regions. It was determined that the satisfaction rate was very high as it showed 81% from duty free zone and 81.83% from first floor. About the question of asking whether visiting the airport or not, 89.1% from duty free zone and 90.06% from first floor answered positively, which reveals the high satisfaction of visitors. Visitors pointed out the modern buildings, easiness of departure/arrival procedure, and various performances as charming points of the airport. This means performances at this airport take greater part in visitor’s satisfaction than convenient facilities and services. For the question of how much the performances influence the value and positive acknowledgement of Incheon International Airport, 86.7% from duty free zone and 84.51% from first floor answered they influence a lot. Regarding this result, the most positive result was from English language users, and the rest goes Korean, Japanese, and Chinese in order. We can conclude that the performances at this airport serve as increased value and acknowledgement of airport, increased revisiting and connecting rates, and overall satisfaction toward Incheon International Airport, which shows the power of this industry in global airport. As it reveals the importance of performances rather than other facilities or services, Incheon International Airport needs to develop this field more so that it can be a Culture Port in the future. 본 연구는 인천국제공항의 문화예술사업이 국내・외 공항이용객들에게 어떻게 인식되고 있는지를 분석하였다. 분석대상인 인천국제공항의 문화예술사업의 수행기간은 2011년 6월 30일~2012년 6월 29일(365일) 기간이다. 조사내용은 공연장소, 공연시간, 공연내용에 대한 만족도와 공항의 브랜드가치 상승에 대한 문화예술사업의 기여도, 재방문의사, 공항의 매력요소 등이다. 설문지 구성은 국제공항의 이용자 특성을 고려하여 1층과 면세구역으로 장소를 분리하였고, 설문조사는 4개의 언어권(한국어권, 일본어권, 중국어권, 영어권)으로 나누어 진행하였다. 분석방법은 빈도분석과 만족도 비교분석을 실시하였다. 비교분석은 독립표본 T-검정(Independent T-test) 및 일원배치 분산분석(One-way Analysis of Variance : ANOVA)을 실시하였다. 분석결과 공연장소, 공연시간, 공연내용에 대해서 국내·외 방문객 중 ‘여성’ 보다는 ‘남성’이 더 만족하였다. 언어권별로는 ‘영어권’에서 타 언어권 보다 더 만족하는 것으로 조사되었다. 국내・외 공항이용객의 문화행사 만족도는 면세구역이 81%, 1층구역이 81.83%가 만족하는 것으로 나타나 방문형태와 상관없이 문화행사 만족도는 매우 높은 수준으로 파악되었다. 인천공항 재방문 의사를 묻는 질문에서는 면세구역은 89.1%, 1층구역 90.06%가 적극적으로 응답하여, 인천공항에 대한 선호도가 매우 높았다. 인천공항의 매력포인트 요인으로는 ‘현대식 건물’과 ‘입출국 절차의 간소함’에 이어서 세 번째 만족요인으로 ‘즐길거리(문화공연 등)’ 순으로 문화행사를 지목하였다. 이는 편의시설과 직원서비스 요인 보다 문화행사가 인천공항 이용객 만족도에 크게 기여하고있음을 이미한다. 문화행사가 인천공항 브랜드가치에 어떤 영향을 주는지에 대한 질문에서 면세구역 86.7%, 1층구역 84.51%가 공항의 브랜드가치와 인지도 상승에 문화행사가 크게 기여하는 요인이라고 응답하였다. 이 점과 관련하여 가장 높은 호응을 보인 언어권은 영어권(43.1%)이며, 이어서 한국어권, 일본어권, 중국어권 순으로 나타났다. 연구결과 인천공항의 문화예술사업이 공항의 브랜드가치 제고, 재방문 및 환승율 제고, 그리고 인천공항 이용만족도를 높이는 요인으로 작용하고 있음을 확인하였다. 즉, 인천공항의 문화예술사업이 글로벌 공항경쟁력 제고에 크게 기여하는 요인임을 확인할 수 있었다. 분석결과의 시사점은 인천국제공항의 글로벌 공항경쟁력은 편의시설과 직원서비스보다도 문화예술사업의 만족도로부터 크게 힘을 얻고 있다는 점이다. 그러므로 향후 인천국제공항은 문화예술사업을 더욱 강화하여 문화공항(Culture Port)으로서의 비전을 더욱 실현해 갈 필요가 있다.

공간의 유서(遺書), 건축에 이야기를 묻다

권병웅 새건축사협의회 2010 건축과사회 Vol.20 No.-

예술기관에 대한 사회지원 논리와 기부모형에 관한 연구

권병웅,권신 한국예술경영학회 2015 예술경영연구 Vol.0 No.35

This study has been conducted, under the circumstances that the donation in art industry is at its infant stage and lacks of precedence studies, to suggest a donation logic for arts and a new donation model for art institution. The study thoroughly reviewed the arts and economic thoughts and the cultural economics’ theory of social support so that the study can reconstitute the donation logic. Moreover, with the analysis on the best practices of donations, author suggested a new donation model suitable for culture and arts institutions. The logic for art’s social contribution and donation model were demonstrated as contents and formality relation. The donation model suggested as a conclusion of this study embodied the donation logic. The three elements, namely, donation logic, donation program, and fundraising system are the essence of the donation model. With this study, the author presented the conception of these elements as a triangular structure. Arts institution that is a non-profit organization can justify and present a donation logic as a tool for social support and welfare. The donation program should adopt non profit organization’s business model to acquire commercial sector’s fund. The donation program constitutes the procurement and allocation of sources. The fundraising regime should be designed to have both internal and external systems. the internal regime should extend to cooperative partner with the supporting unit, and the external regime should advance as a mass organization. Now, the logic and the model for donation required to be bound in a new way that is corresponding to a changing cultural environment so called the Hyper Connected Society. the theory and methods for the social support regarding to culture and arts seem to be rectified along with the flow of society and practices. 본 연구는 예술부문의 기부문화가 성숙되지 못한 국내 여건에서, 그리고 기부관련선행연구가 미흡한 상황에서 예술기관에 대한 사회지원 논리와 기부모형을 제시하고자 수행되었다. 연구문제는 한국적 상황에 적합한 사회지원 논리와 기부모델은무엇인가이다. 연구방법은 예술경제사상의 사회지원 논리를 고찰하여 지금시기에유용한 기부논리의 재구성을 모색하였다. 또한 국내의 성공적 기부모델 사례를 분석하여 예술기관에 적합한 기부모형의 구성요소를 도출하였다. 예술기관의 사회지원 논리와 기부모형은 내용과 형식의 관계로 논증하였다. 연구결과로 제시된 기부모형은 기부논리를 형식화한 모델이다. 기부모형의 구성요소는 기부논리, 기부프로그램, 모금체계의 세 가지 요소이다. 이 구성요소의 개념체계를 기부모형 트라이앵글 구조로 제시하였다. 예술기관은 예술의 본질적 가치, 현실적 가치, 기관의 사회적 가치를 통해 비영리기관임을 설명할 수 있다. 그리고 예술기관의 사회적 과제 해소와 사회적 서비스의 제공에 대한 사회적 지원의 필요성을 기부논리로서 제시할 수 있다. 예술기관의 특성상 민간재원 확보를 위해 비영리조직의 경영모델을 도입할 필요가있다. 이케가미 준(池上惇)이 제시한 비영리기관의 경영모델을 예술기관에 적용하면자원획득프로그램과 자원배분프로그램으로 기부프로그램을 구성할 수 있다. 예술기관의 모금체계는 내부와 외부체계로 구분되는데 내부체계는 비영리기관의 고유한사업조직을 지원하는 경영부서와 리더십을 의미하며 외부체계는 자발적인 전문가참여조직과 독자적인 대중조직으로 구성되어 기부모형의 한 축을 구성한다. 현재 예술기관에 대한 기부논리와 기부모형은 정부의 예술지원에 대한 정책적 후퇴경향이 강해지는 현실상황에서 예술기관의 재원조성 방안의 모색과 자생력 확보라는 과제와 직결된 문제이다. 예술은 창조성의 원천으로서 사회발전에 있어 핵심적동력으로서 그 가치의 중요성이 높게 평가되고 있다. 따라서 예술의 발전에 대한사회적 지원과 그 논리에 대한 사회적 합의가 필요한 시기이다. 이에 대한 정부, 기업 등 사회적 관심과 예술기관들의 노력을 위한 실천적 제언이 되길 바란다.

조선후기 군사 전술의 진법(陣法) 구성과 운영체계 분석

권병웅(Byung-Woong Kwon) 한국산학기술학회 2017 한국산학기술학회논문지 Vol.18 No.5

본 연구는 조선후기 병서 중 『이진총방』의 진도(陣圖)를 바탕으로 고전 진법의 기본모형(陣形)을 재구성하여 진법의 구성원리와 운영체계를 분석하였다. 연구방법은 고전진법의 기본인 방진(方陣)을 토대로 원진(圓陣), 직진(直陣), 곡진(曲陣), 예진(銳陣) 등의 오방진(五方陣)과 현무진(玄武陣), 팔진(八陣), 육화진(六花陣), 구군진도(九軍陣圖) 등 진법의 운영체계를 재구성하여 비교분석 하였다. 분석결과, 모든 진법의 운용은 기본적으로 방진에서 출발하되 정사각, 직사각, 오각형 그리고 원형의 형태로 변형되고 있음을 확인하였다. 또한 진법 내부의 진용 구성은 5가지 선형을 활용하는 바 직사각, 정사각, 대각선, 곡선, 원형 등 5가지 동선체계로 이루어져 있음을 확인하였다. 연구대상인 원진도는 기본방진에서 2중 원의 선형으로 동선체계를 갖추고, 예진도는 기본방진의 편성대열에서 여타 진법보다 최소의 동선거리로 공격적 선형을 갖춘다. 곡진도는 방패형 2중진 형태로 이동동선을 유지하고, 현무진도는 거북모양의 진형으로 좌우 균형의 5각형 동선을 형성한다. 육화진은 원이 지니는 회전력을 무기로 삼는 진법으로 좌우 및 상하 대칭으로 원주율이 같은 여섯 개의 원형동선을 형성하여 꽃잎모양의 선형(線形)을 갖춘 형태이다. 구군진도는 육화진도에서의 원형 대신 9개 정사각형 선형(線形)을 갖추는 방식이다. 팔진도는 정사각, 직사각, 십자형의 3가지 선형으로 14개 진형을 형성하며 면과 선, 외곽선과 대각선의 중층적 3중 방어체계를 갖춘 동선체계이다. 연구 성과는 군사적인 면에서 진법의 실체를 규명함으로써 조선시대 전투양상의 실체를 파악하게 해주면서, 현대전에서 병사들의 훈련에 활용가능한 병법의 유형을 제시한 점에서 군사적, 학술적 가치를 지닌다. This Research is focused on ancient battle formation basing on the layout drawing of Yijinchongbang (manuals of learning military formations) in a strategy book in the late Joseon dynasty. The research topic is the principles of organic composition of battle formation and battlefield operating system by reforming the basic model of ancient battle formation. The research method is comparative analysis by reforming the battlefield operating system of types of disposition such as Obangjindisposition(Bangnjin; battle formation, Jikjin; direct battle formation, Gokjin; bend battle formation, Wonjin; round battle formation, and Yejin; keen battle formation), and Hyunmoojindo; turtle battle formation, Paljindo; all-rounder battle formation, Yookhwajindo; six flowers battle formation, Gugunjindo; nine forms battle formation. From the study results, Standoff Bombing of the battle formation in the late Joseon Dynasty basically started out from magic battle formation, but was then transformed into square, rectangle, pentagon, and circle. Also, the battle array composition used a 5-linear structure and was composed of 5 systems of circulation such as rectangle, square, diagonal, curve, and circle. The research findings elucidate the battlefield of the Joseon dynasty by establishing the real battle formation, and thus have military and academic value in suggesting possible tactics that can be used by modern training of military.

모션 영상에서의 점진적인 장면 전환 검출 알고리즘

권병웅(Byung-woong Kwon),김선근(Sun-geun Kim),김혁만(Hyeok-man Kim),송문호(Samuel M. Song),김운경(Woonkyung M. Kim) 한국통신학회 1998 한국통신학회 학술대회논문집 Vol.1998 No.11

예술인의 생태체계(Eco system)와 정신건강 상관관계 분석

권병웅(Kwon Byungwoong),서주연(Seo Juyoun) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.21

무용페스티벌의 재화적 가치창출을 위한 관람객·출연진 만족도와 경제적 파급효과 분석 -강동스프링댄스페스티벌을 중심으로-

권병웅 ( Byung-woong Kwon ) 한국무용예술학회 2012 무용예술학연구 Vol.38 No.-

The present study investigated the possibility of the commodification of dance contents, and the market value of the contents. In order to identify it, this study analyzed the results of performance satisfaction surveys conductedat 2012 Kang Dong Spring Dance Festival. The participants of the survey were the cast and the audience of the dance festival. To estimate the economic impact of the dance contents, the study analyzed the economic indirect effects based on the data from the economic direct effects, the inductive effect from an inter-industryrelation table from Korea bank, and the actual purchase condition of nation which was released by the Culture Ministry. The analysis on performance satisfaction of the cast and audience was demonstrated based on 5 likert scales. The mean scores of each item were calculated and compared to one another. In the results of the audience’s satisfaction on the performance, the mean sore of ‘the purpose of the performance’ was 4.36 out of 5, which was relatively high. The mean score of ‘the auditorium environment’ was 4.16, and it is also considered high. The mean scores of ‘program organization’ and ‘event organization’ were 4.28 and 4.18. 89.1% of the respondents showed positive response on the overall performance. The mean score of the performance itself was 4.42 which appearedconsiderably high. 90.7% of the respondents answered that they would like to watch the performance again. In the survey results of the members of the cast, the cronbach’s alpha score of the 14 items of the survey was 0.928, which indicated high reliability of the results. It was concluded from the findings that the cast were positive on Kang-Dong Art Center in terms of promotion strategies, the stage environment, convenient facilities, the technical support, and the management system. However, the cast were not overly satisfied with ‘organization management’ and ‘agreement with the cast,’ and the score was 4 out of 5. 89.1% of the cast responded that they would like to perform again, and 92.4% of them answered that they would like to participate in the event again.The result indicated the cast’s considerable satisfaction on the performance event. The results of both the cast and the audience suggested a great value of Kang-Dong Spring Dance Festival as a cultural item. Furthermore, this study investigated the economic effects of the dance festival in order to estimate its market value. In the results, the net profit was 92,626,000 won which was considered the economic direct effect. The economic direct effect accountedfor 20.3% of the total cost and represented 32.3% of the performance cost. Moreover, 60% of the seats at the dance festival were occupied and 40% of the seats were paid-attendance, which means the festival well triggered the public participation. This festival created economic indirect effect (approximately 3,400,000,000 to 4,880,000,000 won), and also brought about job creation (approximately 2,700,000,000 to 3,880,000,000 won). The number of employment was 34.8 to 50. To fulfill the satisfaction of the cast and the audienceis mandatory in order to make a dance festival successful as a cultural content. One of the factors that make a dance festival become a valuable item in the market might be using ‘story.’ Therefore, it is suggested that commodifying the dance festival should be based on ‘story business.’

조선초기 진법의 원리와 문화원형의 시각적 복원 : 세종시대 『계축진설』을 중심으로

권병웅 ( Kwon Byung Woong ),노영구 ( Roh Young Koo ) 한국무용예술학회 2014 무용예술학연구 Vol.49 No.4

This research examines the way of restoring cultural original forms and principles of battle formation of early Joseon dynasty with the center as Bird Cloud battle formation(鳥雲陣) on GyeChukJinSul(癸丑陣說). There are many battle formations after King Sejong period other than Five Battle Formation and Bird Cloud battle formation regarding powers of armies or geography such as Jang-sa-jin(Snake formation, 長蛇陣), Hak-ik-jin(crane wing formation, 鶴翼陣), Eo-rin-jin(papelonne formation, 魚鱗陣), Eon-worl-jin(half moon formation, 偃月陣). The principle of battle formation can also be principle of Korean cultural formation other than in military way. Investigating principles of military battle formation in Early Joseon Dynasty, as cultural history way, there is original cultural form of epistemology and morphology founded through parade music, orchestration, traditional dance, ancestral ritual formalities, military ritual formalities, annual events, institutions and customs, and parade. The restored visual reflection of Bird Cloud battle formation above is regarded as Korean cultural principles and forms.

문화협치의 빅데이터 거버넌스 도입 방안

김선영,권병웅 한국문화융합학회 2019 문화와 융합 Vol.41 No.2

In recent years, governance has become a hot topic in various parts of society as well as in politics. In particular, the belief that cooperative interaction in regional culture has the effect of creating new cultural values and solving social problems when it is done in a desirable direction has become prevalent. However, it is necessary to review and reflect on whether regional cultural governance has been oriented toward an “open society” based on the spontaneity and self-imposed order of its members. In this paper, we would like to propose Big Data as a tool of regional cultural governance, using it as a form of citizen “passive participation,” and making it the first priority to be considered as a means of real cultural governance today. Although it is not a direct statement of intent by a person or group, data mining of such opinions or traces can be reflected in decision-making, regardless of passive participation. The Big Data regional cultural governance model proposed in this paper adds the opinions derived from the Big Data platform to the existing model, and thence to the decision structure. The Big Data platform collects and analyzes the data produced by the Internet of Things(IoTs), including opinions posted on social media and the Internet, posted by passive citizen participants of the region in each case, and has a direct influence on decision-making. In addition, local governments, cultural institutions, and cultural movement organizations(nongovernmental organizations, or NGOs) extract and utilize data from the Big Data that can objectively verify their claims. At present, in Korea, there are many legal restrictions on the use of personal data and government(or local government) data, despite the accumulation of a great deal of Big Data. In this era, when the Fourth Industrial Revolution and local decentralization are emphasized, we expect the realization of the regional cultural governance through the activation of citizen participation using Big Data.

공연예술 분야 뮤지컬 저작물의 저작권 분쟁사례 분석

김재윤,권병웅 한국지역문화학회 2023 지역과 문화 Vol.10 No.3

In the musical industry, where the dependence on works and copyrights is extremely high, legal disputes due to contractual agreements frequently occur. Therefore, the purpose of this study is to derive factors of legal disputes through the generating structure of copyright in the musical industry and representative cases of performing arts and musicals. In order to achieve the purpose of the study, I derived factors of disputes in musical works based on the analysis results of representative cases of creative musicals and licensed musicals, which are typical production methods of musical works. According to the analysis results, musicals, which are combined works, must be contracted individually to protect each work and exercise each stable right. In addition, our courts use substantive similarity as a criterion for the objective requirement of copyright infringement of secondary works, which are independent works, and it is possible to confirm whether they are secondary works. This study was conducted to establish a basis for performance copyright, which lacks previous study, and to create evidence for the establishment of a fair market for performing arts by raising awareness of copyright law and establishing an environment for proper use of copyrights.