ScholarWorks@Hongik: Chang, Woong Jo

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Chang, Woong Jo (장웅조)

Graduate School (Department of Art & Culture Management)

Research Area: 문화예술경영학

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관객개발:4||Arts Entrepreneurship:4||예술기업가정신:4||실행연구:4||National Theater Company of Korea:3||국립극단:3||Bricolage:3||Local Culture:3||지역문화:3||문화예술 기업가정신:2||문화예술 기업가정신 교육:2||문화예술교육:2||arts and cultural entrepreneurship education:2||MAUTCVM:2||Rhizomatic Thinking:2||social value:2||BTS:2||ARMY:2||Action Research:2||Arts Education:2||KLive:2||리좀적 사유:2||Kpop:2||공공미술:2||브리콜라주:2||Hallyu:2||WTP:2||arts and cultural entrepreneurship:2||audience development:2||자율성:2||Cultural Policy:1||Cultural facility:1||Cultural industries:1||Dance Content:1||Dance Copyright:1||Deterritorialization:1||Digital era:1||Donation:1||Economic Performance:1||Experience:1||Faciltator:1||Fandom:1||Foundation:1||Functional Value:1||Fundraising:1||GDP:1||Gen MZ:1||Gentrification:1||Haenyeo Kitchen:1||Halyu:1||Hobby Entrepreneur:1||Hobbypreneur:1||Hologram:1||Inclusive Arts Education:1||Inclusive Cultural Policy:1||Inclusive Nation:1||Institutional Theory:1||Institutional Value:1||Institutionalization:1||International exchange:1||Intrinsic Value:1||Kpop industry:1||Korean Bbo:1||Living Culture:1||Local Creator:1||Local Identity:1||Local Revitalization:1||Locality:1||Long playing Record (LP):1||Longplaying Record(LP):1||MZ세대:1||Maffesoli&apos:1||Maffesoli’s tribe:1||Marginalisation:1||Me to We":1||Ministry of Culture:1||Mixed Method Research:1||Mullae Creative Village:1||Mullae Cultural Salon:1||Multiattribute utility theory:1||Museum:1||Museum Experience:1||Mythology:1||NAI:1||Narrative Structure:1||National Museum of Modern and Contemporary Art:1||NonFaceToFace:1||Onlinebased Dance Project:1||Parannara:1||Performing arts:1||Perspective of arts management:1||Professionalization:1||Public Art:1||Public Arts Organization:1||Public Support for the Arts:1||Public art:1||Public arts and cultural organization:1||Public arts organizations:1||Recognition of church arts management:1||Recreational Specialization:1||Recycle:1||Regional Context:1||Reincarnation:1||Religion and arts management:1||Research Exhibition:1||Resilience:1||Reterritalization:1||Retro:1||Returntothepast:1||Sanwoollim Theater:1||Senior volunteer program:1||Seoul:1||Serious Leisure:1||Social Ecology:1||Social Exclusion:1||Social Impact of the Arts:1||Social Performance:1||Social Value of the Arts:1||Social role of religion.:1||Sports and Tourism:1||Stakeholders:1||Super aged society:1||Tattoo:1||Tattoo World:1||Tattooist:1||The third point of arts management:1||Theater Production:1||Trust:1||Value Based Economy:1||Vinyl:1||Virtual experience:1||Visualization:1||Web Novel:1||accountability:1||action research:1||artistic interaction:1||artistic value:1||arts:1||arts &:1||arts and cultural complex space:1||arts and cultural entrepreneurial competencies:1||arts and culture:1||arts entrepreneurship:1||arts management:1||arts organization:1||arts participation:1||audience engagement:1||audience relations:1||autonomy:1||business diversification:1||collaborative creativity:1||competency development:1||creative ageing:1||cultural ecology:1||cultural statism:1||cultural workers:1||curriculum development:1||dance artist:1||digital era:1||disability:1||economic growth:1||economic impact:1||economic value:1||educational model:1||educational program development:1||exploratory research:1||facilitation:1||fandom:1||glocalisation:1||gross domestic product:1||hologram:1||hybrid:1||inclusive arts education:1||institutionalisation:1||isomorphism:1||key words: Nonfacetoface performances:1||live performance:1||mission:1||national arts index:1||noninterruptible performances:1||online performance:1||online streaming performances:1||path dependence:1||phenomenological study:1||policy transfer:1||portfolio:1||postcovid performing arts:1||principle of subsidiarity:1||professionalism:1||protean:1||resistance:1||resource dependence:1||s tribe:1||shared governance:1||social enterprise:1||state support for the arts:1||sustainable careers:1||theoretical model:1||virtual experience:1||wellbeing:1||“me to we”:1||가치 기반 경제:1||경제적 가치:1||경제적 성과지표:1||계층분석과정(AHP):1||공공 문화예술 조직:1||공연제작:1||공유 거버넌스:1||공적지원:1||관객관계성:1||관객관여:1||교육 모델:1||교육 프로그램 개발:1||교회예술경영의 인식:1||국립현대미술관 서울관:1||국제교류:1||기능적 가치:1||기부:1||다속성가치추정:1||동형화:1||레트로:1||로컬크리에이터:1||리서치 전시:1||매핑:1||모금:1||무관중 공연:1||무용 콘텐츠:1||무용예술가:1||무용저작권:1||문래문화살롱:1||문래창작촌:1||문화 접근성:1||문화기획자:1||문화시설:1||문화예술:1||문화예술 기업가적 역량:1||문화예술단체:1||문화예술분야 사회적기업:1||문화예술생태계:1||문화예술지원체계:1||문화정책:1||문화체육관광부:1||미국 문화정책:1||미션:1||미술관:1||미술관 경험:1||바이닐:1||보충의 원칙:1||복합문화공간:1||본원적 가치:1||브리콜라쥬:1||비대면:1||사업다각화:1||사회적 가치:1||사회적 배제:1||사회적 성과지표:1||사회적기업:1||산울림 소극장:1||생활문화:1||서사구조:1||수집:1||시각화:1||시니어 자원봉사프로그램:1||신뢰:1||신화이론:1||여가의 전문화:1||역량계발:1||예술가로서의 관객:1||예술경영:1||예술경영의 관점:1||예술경영의 제3지점:1||예술교육:1||예술의 사회적 가치:1||예술의 사회적 영향:1||예술적 가치:1||예술적 상호작용:1||예술적 성과지표:1||예술참여:1||온라인 공연:1||온라인 무용 프로젝트:1||온라인 스트리밍공연:1||웹소설:1||이론적 모델:1||이해관계자:1||장애:1||재단법인:1||재영역화:1||재활용:1||전문직업화:1||전유예술:1||제도론:1||제도적 가치:1||제도화:1||젠트리피케이션:1||종교와 예술경영:1||종교의 사회적 역할:1||주요어 : 비대면 공연:1||중국 팬덤:1||지역공동체:1||지역성:1||지역적 맥락:1||지역정체성:1||지역활성화:1||진지한 여가:1||창의분야:1||창조적 노년:1||책임성:1||초고령사회:1||취미 창업가:1||커리큘럼 개발:1||크리에이티브 에이징:1||타투:1||타투계:1||타투이스트:1||탈영역화:1||탐색적 연구:1||파란나라:1||퍼실리테이터:1||포스트 코로나시대 공연예술:1||포용국가:1||포용적 문화예술교육:1||포용적 문화정책:1||포용적 예술교육:1||하비프러너:1||한국문화예술위원회:1||한류:1||해녀의 부엌:1||현대무용:1||현상학적 연구:1||현장 공연:1||협력적 창의성:1||혼합 방법 연구:1||환생:1||:1||회귀:1||":1||: 공공 문화예술 조직:1||Action research:1||American cultural policy:1||Analytic Hierarchy Process(AHP):1||Appropriation Art:1||Artistic Performance:1||Arts Council Korea:1||Arts Management:1||Arts Participation:1||Arts and Cultural Social Enterprise:1||Arts education:1||Arts management:1||Audience Development:1||Audience Engagement:1||Audience as an Artist:1||Audience development:1||Audience engagement:1||Autogenous Local Community:1||Autonomy:1||COVID19:1||Chinese fandom:1||Collecting:1||Concept Mapping:1||Contemporary Dance:1||Creative Sector:1||Creative aging:1||Cultural Accessibility:1||Cultural Planner:1||

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