earticle

영어

The Utilization of Cultural Arts is one of the typical ways to improve “the quality of life.” That is because Cultural Arts exist for the sake of human self-realization and needs satisfaction, and because everybody should equally benefit from Cultural Arts as a sort of universal welfare. That's what Cultural Arts cooperatives are basically for. The purpose of this study was to examine the Self-Reliance Strategies of Cultural Arts Cooperatives as one of their pressing challenges to actualize Community Art and Cultural Democracy. Cultural Arts Cooperatives should achieve their artistic goal, which is Community Art, and their managerial goal, which is financial independence, in their own independent way instead of merely seeking the consent of people in general to their status as Cultural Hegemony. The findings and suggestions of the study were as follows: First, the Self-Reliance Elements of representative Cultural Arts Cooperatives in our country after the legislation of the fundamental act on cooperative in 2012 were analyzed. The cooperatives that were selected as the cases were analyzed in terms of Brand Positioning, Killer Contents and Marketing, and their financial statements were analyzed to find out their financial state. As a result, it's pretty difficult for them to do something meaningful without support from the government or related organizations, and their self-reliance ratio was extremely low to the extent that they could not help recording current account deficit. Cultural Arts Cooperatives should make marketing efforts by mapping out aggressive marketing strategies for Cultural Arts management to realize Community Art without repeating “their failure as social enterprises in 2007” and without relying on the government or related institutions. After related theories and cases were analyzed, it's suggested in this study that the cooperatives should put their energy into Cultural Arts Marketing to attract potential customers to ensure sustained profit making and successful Cultural Arts Programs instead of simply trying to appeal to the government, local governments or civic groups for their concern. Second, Cultural Arts Cooperatives should urgently put their efforts into Brand Positioning as performers of Community Art. And they should provide quality contents suitable for their Brand Positioning to have a strong bond with local residents. At the same time, they should produce and distribute Killer contents based on the Cultural Archetype of their communities to make themselves differentiated from existing cultural arts groups. Specific cases were mentioned to explain the necessity of Killer contents. Third, Crowd Funding is presented in this study as a means of funding for Cultural Arts Cooperatives. This is alternative financing in this age, and it could be called as a vehicle to realize “Online Economic Democracy” to actualize “Cultural Democracy” thanks to its democratic nature in the ways and use of funding. Fourth, a Network of Cooperatives must be established to build partnership between cooperatives and Cultural Arts Organizations to facilitate their mutual exchange, and it's necessary to seek after convergence, which is the biggest benefit of Cultural Arts Cooperatives. The kind of contents that can guarantee artistry and popularity at the same time through convergence with other fields while retaining the unique identity of cooperatives should be developed. Basically, this study is in pursuit of the slogan of Community Art that “Everybody is an artist” instead of that of economy that “Everybody is a businessperson.” This is because Cultural Arts should be created by “Anybody” and exist “Anywhere.” So far, Public Art that is confined to specific places is still prevailing, and it's time to make an effort to actualize Community Art, which is to plant trees of Cultural Arts close together to create a forest. Cultural Arts Cooperatives will be able to serve as the subjects of design in their communities, to make a contribution to the improvement of the regions and thereby to take their own artistic world to another level in that course.

한국어

이 논문은 문화예술협동조합이 커뮤니티 아트와 문화민주주의를 실 현하기 위한 당면 과제로서의 자립 전략을 구성해보는 것에 연구 목 적을 두고 있다. 문화예술협동조합은 문화헤게모니로의 자발적 동의 가 아닌, 커뮤니티 아트라는 예술적 목표와 재정 자립이라는 경영 목 표를 주체적으로 달성해야 한다. 따라서 다음과 같이 연구 결과를 도 출하였고 몇 가지 제언을 하였다. 첫째, 2012년 협동조합기본법 제정 이후 우리나라 대표적 문화예술 협동조합들의 자립 요소들을 검토해보았다. 브랜드 포지셔닝, 킬러 콘 텐츠, 마케팅 측면에서 각 사례 조합들을 분석했고, 각 조합들의 재무 제표 등을 통해 재무 실태를 살펴보았다. 그 결과 충분하고 지속적인 이윤창출 및 질적인 문화예술사업 진행을 위한 구조가 확고히 마련되 도록 정부와 지자체, 시민사회의 관심이 필요하다고 호소하는 것보다는 오히려 잠재고객 확보를 위한 문화 예술 마케팅에 주력해야 한다는 것을 이론과 사례를 들어 서술하였다. 둘째, 문화예술협동조합은 커뮤 니티 아트라는 브랜드 포지셔닝을 시급히 마련해야 한다. 또한 조합의 브랜드 포지셔닝에 적합한 콘텐츠로 지역 주민들과의 스킨십을 강화 해야 한다. 나아가 기존 문화예술단체와 차별화되는 브랜드와 포지셔 닝을 갖기 위해 문화예술협동조합은, 자신이 기반한 커뮤니티의 문화 원형에 기반한 킬러 콘텐츠를 생산·확보해서 유통해야 한다는 것을 구 체적 사례를 들어 제시하였다. 셋째, 문화예술협동조합의 구체적 재원 조성 방식으로 크라우드 펀딩을 제시하였다. 크라우드 펀딩은 기하급 수시대의 대안적 파이낸싱(alternative financing)이다. 또한 펀딩 자금 모금과 사용 과정의 민주주의적 성격으로 ‘인터넷 경제민주주의’를 통 해 ‘문화민주주의’를 실현하는 장소라고도 할 수 있다.