1970년대 공예산업 진흥정책의 전개 -대한민국상공미술전람회와 전국관광민예품경진대회를 중심으로-
Development of the Craft Industry Promotion Policies in the 1970s –focused on the Korean Commercial & Industrial Arts Exhibition and the Korea Folk Arts & Crafts Contest-
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이 연구의 목적은 1970년대 공예산업정책의 일환으로 개최된 대한민국상공미술전람회 공예부와 전국관광민예품경진대회를 분석하여, 정책을 둘러싼 공급자와 수혜자의 양상을 살펴보고 ‘공예’에 대한 이미지 구축에 미친 영향을 고찰하는 것이다. 두 공모전은 박정희 정권의 경제개발 정책의 궤도를 따라 외국인을 위한 상품을 개발·실용화한다는 목표에서 출범했다. 목표는 유사하나, 주된 출품집단은 대한민국상공미술전람회의 경우 대학, 전국관광민예품경진대회는 산업체로 양분되어 있었다. 이에 두 공모전 정책을 함께 다뤄 당시 학계와 산업계의 동향을 살핀다. 연구를 위하여 정책학의 사회적 형성 이론을 이론적 틀로 삼았고, 더불어 공모전 주체를 정책집행자, 중간 매개집단, 정책대상집단으로 구분했다. 이 방법론은 각 주체를 심도 있게 탐색하여 국가정책의 사회적 의미를 파악하기에 유리하다. 결론적으로 두 공모전은 외화획득의 목표를 이루고자 ‘전통성’을 중요한 요건으로제시했고, 공모전을 통해 공예산업에 전통적 이미지라는 사회적 형상이 한층 강화되었음을 확인했다. 또한, 정책 초기에 설계된 양자 구도가 지속되며 학계와 산업계가 각각 결집하는 영토화 현상이발생하게 되었다. 결국 공모전은 참여 주체가 집단 정체성을 내재하는 하나의 계기가 되어 공예계이원화 현상을 뒷받침했다. 이 연구는 정책학의 관점에서 대한민국상공미술전람회와 전국관광민예품경진대회를 분석한 첫 시도라는 점에서 의의가 있으며, 이를 통해 공예산업정책의 학술적 공백이메워지길 기대한다.
Abstract
The purpose of this study is to analyze the craft section of the Korean Commercial & Industrial Arts Exhibition and the Korea Folk Arts & Crafts Contest held as parts of the 1970s’ craft industry policy, to examine the aspects of suppliers and beneficiaries surrounding the policy, and to consider its influence on building the image of ‘crafts.’ Both contests were launched from the goal of developing and commercializing products for foreigners to follow the trajectory of Park Junghee administration’s economic development policy. Although the two contests shared the same goal, the major groups of each contest were different. In the case of the Korean Commercial & Industrial Arts Exhibition, it was universities, and for the Korea Folk Arts & Crafts Contest it was businesses. Therefore, the study deals with both contest policies to examine the trends in academia and industry at the time. For the research, the social construction theory in policy studies is used as a theoretical framework, and the contestants are divided into policy implementers, intermediary groups, and policy target groups. This methodology is favorable in understanding the social meaning of national policies by searching each entity in depth. In conclusion, it is confirmed that both contests presented ‘traditionality’ as an important requirement for acquiring foreign currency, and the social perception of the craft industry’s traditional image was reinforced through the contests. In addition, the bilateral structure designed in the early stage of the policy continued to result in the territorialization in which academia and industry each gathered together. In the end, the contests served as an opportunity for participants to internalize their collective identity, supporting the dualization of the craft scene. This study has significance as the first attempt to analyze the two contests from the perspective of policy studies, and it is hoped that this will bridge the academic gap in craft industry policy.
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