대구 지역 축제의 비판적 시각: 주인이 손님이 되다

Abstract

Local autonomy has been in effect in Korea since 1995. This system is a political system in which local governments break away from the politics and administration of the central government, establish regional decentralization, and local residents directly govern the region. It has the advantage of being able to grow and grow independently according to the characteristics of the region. This potential is expressed through the explanation of a festival and is driving the growth of the city. In the Daegu area, operas, musicals, and jazz are promoting Daegu's musical status. In particular, Daegu was selected as a UNESCO City of Music Creativity in 2017, accelerating these activities. However, while there is an ultimate challenge to solve behind the administration, it continues to this day, ignoring the will and methodology to solve it. In this paper, we look at the Daegu International Opera Festival, the Daegu International Musical Festival, and the Daegu International Jazz Festival hosted by Daegu. Although these festivals are paying attention to the attempts to promote Daegu's status to the world by using the word "international," the future does not seem optimistic. It is no exaggeration to say that the success or failure of any festival depends on the characteristics of the region, the creativity of the organizer, and the basic infrastructure that supports it. Representative success stories are the Hampyeong Butterfly Festival and the Andong International Mask Dance Festival. However, there are no representative festivals in Daegu. Opera, musical, and jazz all have the same characteristics of music. Music should be based on a long study period, and based on that learning, they interact, collaborate, and grow. However, unlike in the past, Daegu has not been able to show any positive steps when it comes to training and activities for music professionals. Music majors in the university are continuing their reputation, and professional education is insufficient, especially considering the characteristics of each field, and job opportunity guarantees are extremely insufficient, especially for those majoring in music. This lack of infrastructure has resulted in the movement of guests to the festival. In other words, despite the festival being hosted by Daegu, musicians in Daegu do not lead the festival but only partially fill in the program. What local governments and citizens should do to preserve Daegu's musical status, preserve Daegu's musical status, and become the owners of the festival must be imprinted once again. And keep in mind that building the foundation for that growth is the first thing to do.