2000년대 프랑스 거리예술정책 연구 (Study for cultural policy in the 2000s, about street arts in France)

초록

This paper aims to figure out the potential of Korean street arts by examining the ways how French government nurtured street arts within the context of cultural policy. The status of French street arts is inarguably one of the best in the world and it depends heavily on governmental support for many years. The collaborative support from local and central governments during the 1980s lays the basis for its future development. When the Left government starts its regime in 1981, for example, the concept of ‘culture’ was expanded to embrace popular genres such as design, fashion and cartoon as well as traditional high art. It also relates to include street arts, circus and rock music into the scope of arts. The street arts then became as an independent genre in arts, and has been supported on the governmental level afterwards.
This paper will examine French cultural policy for street arts and apply it into Korean soil. First of all, it will look into the institutional framework on the governmental level in the early 2000s. Secondly, it will discuss how professionals for the street arts can be trained systematically. Thirdly, it will search into the models for production center and its crucial impact on the environment of street arts. Lastly, the importance of networks between street arts companies will be focussed by examining multi-layered supports from the European Union as well as its own government.

영어초록

This paper aims to figure out the potential of Korean street arts by examining the ways how French government nurtured street arts within the context of cultural policy. The status of French street arts is inarguably one of the best in the world and it depends heavily on governmental support for many years. The collaborative support from local and central governments during the 1980s lays the basis for its future development. When the Left government starts its regime in 1981, for example, the concept of ‘culture’ was expanded to embrace popular genres such as design, fashion and cartoon as well as traditional high art. It also relates to include street arts, circus and rock music into the scope of arts. The street arts then became as an independent genre in arts, and has been supported on the governmental level afterwards.
This paper will examine French cultural policy for street arts and apply it into Korean soil. First of all, it will look into the institutional framework on the governmental level in the early 2000s. Secondly, it will discuss how professionals for the street arts can be trained systematically. Thirdly, it will search into the models for production center and its crucial impact on the environment of street arts. Lastly, the importance of networks between street arts companies will be focussed by examining multi-layered supports from the European Union as well as its own government.

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