• Korean Architects
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• no.4 s.157
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• pp.35-54
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• 1982

• 월간 기계설비
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• no.2 s.199
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• pp.81-81
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• 2007

행정자치부(장관 박명재)가 지역예산을 집행하는 계약과정에서 발생하는 문제의 해결을 돕기 위해 마포구 공덕동에 소재한 한국지방재정회관에서「지방계약민원 종합상담센타」를 개설, 지난 1월 22일부터 민원상담서비스에 들어갔다. 이 센타는 2006년‘지방자치단체를 당사자로 하는 계약에 관한 법령’시행 이후 폭발적으로 증가하는 민원상담을 소화하는 한편, 서비스의 질을 높여 체계적·능동적인 민원서비스를 위해 개설 됐으며 △상담신청 → 1차상담서비스 → 진행상황 파악 → 미진한부분에 대한 사후 서비스 → 수범사례 전파의 순으로 서비스가 진행된다.「지방계약민원 종합상담센타」는 앞으로 자치단체, 교육행정기관, 건설업체 등에 대한 신속하고 품질 높은 민원상담서를 제공, 고객만족을 확대하고 제도적 건의사항이나 문제점을 즉시 파악해 정책에 반영할 계획이다. 한편 이날 현판 제막식에는 김경회 대한설비건설협회 상임이사를 비롯한 건설단체 임원 및 지방자치단체 시·도 계약담당 사무관, 시·도 교육청 계약담당 사무관, 행자부 산하기관 임원 등이 참석했다.

• (The) Research of the performance art and culture
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• no.41
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• pp.5-38
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• 2020

The current state of performance halls in South Korea is closely related to the performance art and culture of the nation as the culture of putting on and enjoying a performance is deeply rooted in public culture and arts halls representing each area at the local government level. Today, public culture and arts halls have multiple management purposes, and the subjects of their management are in the public domain including the central and local governments or investment and donation foundations in overwhelming cases. Public culture and arts halls thus have close correlations with the institutional aspect of cultural policies as the objects of culture and art policies at the central and local government level. The full-blown era of public culture and arts halls opened up in the 1980s~1990s, during which multi-purpose performance halls of a similar structure became universal around the nation. Public culture and arts halls of the uniform shape were distributed around the nation with no premise of genre characteristics or local environments for arts, and this was attributed to the cultural policies of the military regime. The Park Chung-hee regime proclaimed Yusin that was beyond the Constitution and enacted the Culture and Arts Promotion Act(September, 1972), which was the first culture and arts act in the nation. Based on the act, a five-year plan for the promotion of culture and arts(1973) was made and led to the construction of cultural facilities. "Public culture and arts" halls or "culture" halls were built to serve multiple purposes around the nation because the Culture and Arts Promotion Act, which is called the starting point of the nation's legal system for culture and arts, defined "culture and arts" as "matters regarding literature, art, music, entertainment, and publications." The definition became a ground for the current "multi-purpose" concept. The organization of Ministry of Culture and Public Information set up a culture and administration system to state its supervision of "culture and arts" and distinguish popular culture from the promotion of arts. During the period, former President Park exhibited his perception of "culture=arts=culture and arts" in his speeches. Arts belonged to the category of culture, but it was considered as "culture and arts." There was no department devoted to arts policies when the act was enacted with a broad scope of culture accepted. This ambiguity worked as a mechanism to mobilize arts in ideological utilizations as a policy. Against this backdrop, the Sejong Center for the Performing Arts, a multi-purpose performance hall, was established in 1978 based on the Culture and Arts Promotion Act under the supervision of Ministry of Culture and Public Information. There were, however, conflicts of value over the issue of accepting the popular music among the "culture and arts = multiple purposes" of the system, "culture ≠ arts" of the cultural organization that pushed forward its establishment, and "culture and arts = arts" perceived by the powerful class. The new military regime seized power after Coup d'état of December 12, 1979 and failed at its culture policy of bringing the resistance force within the system. It tried to differentiate itself from the Park regime by converting the perception into "expansion of opportunities for the people to enjoy culture" to gain people's supports both from the side of resistance and that of support. For the Chun Doo-hwan regime, differentiating itself from the previous regime was to secure legitimacy. Expansion of opportunities to enjoy culture was pushed forward at the level of national distribution. This approach thus failed to settle down as a long-term policy of arts development, and the military regime tried to secure its legitimacy through the symbolism of hardware. During the period, the institutional ground for public culture and arts halls was based on the definition of "culture and arts" in the Culture and Arts Promotion Act enacted under the Yusin system of the Park regime. The "multi-purpose" concept, which was the management goal of public performance halls, was born based on this. In this context of the times, proscenium performance halls of a similar structure and public culture and arts halls with a similar management goal were established around the nation, leading to today's performance art and culture in the nation.