문화 궁전

문화 궁전 (Дворец культуры, dvorets kultury, 중국어: 文化宫, wénhuà gōng) 또는 문화의 전당 (dom kultury)은 소비에트 연방(또는 소련)와 그 외 동구권 국가들의 클럽 하우스를 일컫는 말이다. 문화 궁전은 스포츠, 전시회, 예술 행사 등과 같이 여러 종류의 행사를 동시에 진행할 수 있도록 계획된 공간이다. 일반적인 '궁전'은 하나 이상의 영화관과 콘서트 홀, 댄스 스튜디오(민속춤과 발레, 사교 댄스 등 여러 장르 공연 가능), 여러 DIY 동호회를 위한 공간, 아마추어 무선 라디오 동호회용 공간, 아마추어 극단과 밴드 등을 위한 공간을 포함하고, 렉토리움(강의실)을 포함한 체제 교육용 공간도 포함하여야 했다. 사람들은 여기서 연령대 별로 분류되어 활동에 참여했다. 문화 궁전에는 이러한 취미 활동을 위한 공간 이외에도 공공 도서관을 입주시켰다.

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민스크 트랙터 작업장 문화 궁전

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소피아의 문화 궁전

중국 허베이성의 황시 도심에 위치한 '농업인의 문화 궁전'

동호회 활동에 참여하는 것은 무료였다. 하지만 공산

A public library may sometimes have been housed in the Palace of Culture as well. All hobby groups were free of charge until most recent times, when many hobbies with less official recognition were housed based on "self-repayment". A Palace of Culture was sometimes called a "club", but this did not mean that it was membership-based.

In government rhetoric, all these were supposed to aid "cultural leisure" of Soviet workers and children and to fight "cultureless leisure", such as drinking and hooliganism.

Palaces or Houses of Culture were introduced in the early days of the Soviet Union, inheriting the role that was earlier fulfilled by so-called "People's Houses" (러시아어: народные дома). Below is an excerpt from John Dewey's Impressions of Soviet Russia and the revolutionary world (1929) .

The other impression I would record came from a non-official visit to a House of Popular Culture. Here was a fine new building in the factory quarter, surrounded by recreation grounds, provided with one large theater, four smaller assembly halls, fifty rooms for club meetings, recreation and games, headquarters for trade unions, costing two million dollars, frequented daily—or rather, nightly—by five thousand persons as a daily average. Built and controlled, perhaps, by the government? No, but by the voluntary efforts of the trade unions, who tax themselves two percent of their wages to afford their collective life these facilities. The House is staffed and managed by its own elected officers. The contrast with the comparative inactivity of our own working men and with the quasi-philanthropic quality of similar enterprises in my own country left a painful impression. It is true that this House—there is already another similar one in Leningrad—has no intrinsic and necessary connection with communistic theory and practice. The like of it might exist in any large modern industrial center. But there is the fact that the like of it does not exist in the other and more highly developed industrial centers. There it is in Leningrad, as it is not there in Chicago or New York...

There were two basic categories of Palaces of Culture: of state ownership and of enterprise ownership. Every town, kolkhoz and sovkhoz had a central Palace or House of Culture. Major industrial enterprises had their own Palaces of Culture, managed by the corresponding trade unions.

Palaces of Culture served another important purpose: they housed local congresses and conferences of the regional divisions of the Communist Party, the Komsomol, etc.

In smaller rural settlements similar establishments of lesser scope were known as "clubs", with main activities there being dance nights and cinema.

In 1988 there were over 137,000 club establishments in the Soviet Union.

In the People's Republic of China, the best-known, and most centrally located, Palace of Culture is perhaps the "Workers' Palace of Culture" located in the former Imperial Ancestral Temple just outside the Forbidden City in Beijing.

Post-Soviet times

Most Palaces of Culture continue to exist after the collapse of the Soviet Union, but their status, especially the financial one, changed significantly, for various reasons.

See also

• Warsaw Palace of Culture and Science (Poland)
• Palace of Culture (Iaşi) (Romania)
• National Palace of Culture (Sofia, Bulgaria)
• Institute of Culture
• Palacio de Cultura Banamex (Mexico City, Mexico)
• Palace of Culture (Palacio de la Cultura) in Managua, Nicaragua