Pansori is one of the arts of the common people, and it is a Changak that reflects the lives of ordinary people in detail. Pansori is an art of singing interestingly, mixing gestures and singing a long story that takes up to three hours to eight hours to complete with the buk(drum) accompaniment of a master singer in a yard or concert hall. It is also a musical drama in the form of a collection, and an epic drama that shows the story as a play. In 'Pan', pansori is the form of a comprehensive art in which stories, songs and acts are performed together.

On January 15, 2004, Lee Ok-cheon was recognized as the owner of Heungbo, and on January 3, 2013, Jeong Eui-jin was recognized as the owner of the Sugungga.

※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616).

Jinju Geommu is a sword dance performed by women and handed down in Jinju. Also called Geomgimu or Kalchum, it was one of the dances performed during a party held at the Royal Palace.

There are two theories about its origin, i.e., one about the Silla people who started dancing in memory of a boy who sacrificed his life for the country and the other about gisaeng (female entertainer) of Jinju engaging in dancing to console the spirit of Nongae, a gisaeng who jumped into the river clasping a Japanese officer during a party held at a pavilion on a riverside cliff during the Japanese invasion in the late 16th Century.

Jinju Geommu is played by a group of eight dancers in warrior’s uniform to the rhythms of dodeuri, slow taryeong (Korean folk song), and fast taryeong. Two rows of four people on each side dance facing each other, holding a sword and a piece of rainbow-striped cloth in their hands. Dancers’ movements include turning around with bent knees, sitting on the floor, bending forward and then backward, and stretching out the arms with the sword placed on the floor.

The dance is accompanied by the playing of piri (flute), jeo (bamboo flute), haegeum (two-stringed fiddle), janggo (hourglass-shaped drum), and buk (drum).

Jinju Geommu as we see today is one that was handed down among gisaeng who belonged to the local government of Jinju. The old ones were presumed to have served previously at the Royal Palace but returned home and taught the dance to the locals.

Jinju Geommu have artistic value as one that maintains the prototype of the sword dance performed at the Royal Palace in terms of style of performance, movements, and way the swords are handled.

Dano, which falls on the fifth day of the fifth lunar month, is called Nopeun nal (High Day) or Surit nal (Day of Gods). The Dano Festival of Gangneung is one of the festivals with the longest history in the country. On that day, people held a sacrificial rite to mountain gods in Daegwallyeong Pass and prayed for good harvest and peace of the village.

There are some records left by ancestors about the relevant rites. Chugangnaenghwa, a collection of writings of Nam Hyo-on (1454-1492), contains a statement about a sacrificial rite held for mountain gods and a three-day rite held in March through May. Seongsobubugo, a collection of writings of Heo Gyun (1569-1618), tells a story about witnessing a scene from the Dano Festival of Gangneung in 1603.

Villagers believed that their village would suffer a calamity unless they held a sacrificial rite on Dano. Thus, they brought a guardian deity from the shrine of tutelary gods in Daegwallyeong Pass. They placed it along with the female guardian of Gangneung on top of an altar and held a sacrificial rite. They are said to have believed the leading tutelary god in Daegwallyeong to be General Kim Yu-sin, the guardian placed on the top of their altar to be Monk Beomil, and the female guardian to be a maid from the local Jeong family.

Locals make liquor to be served during the festival, on the eve of which they hold a sacrificial rite at the shrine in Daegwallyeong. They take a holy tree and a deity and keep them at the female deity shrine in Hongje-dong. After holding a rite of welcoming the deities in the evening, they take the deities to an altar set up at a riverside place close to Namdaecheon Stream. During the festival, people hold sacrificial rites twice a day for five days at the altar, praying for the peace and prosperity of the village.

During the festival, special events such as the following are held: mask stage play, tree swinging, ssireum (Korean wrestling), farmers’ music contest, washing the hair in water mixed with changpo (iris; Acorus calamus), eating rice cake made with surichwi (Synurus deltoids), etc.

On the day after Dano, the holy tree is burned, and the tutelary god is taken back to Daegwallyeong. This marks the close of the Dano Festival.

The Dano Festival of Gangneung is composed of a Confucianism-style rite held by officiants and a gut performed by exorcists. It is a village festival that is larger in scale than any other held in areas along the East Coast, attracting a large crowd and creating an atmosphere similar to that of an open-air market. The mask stage play, wherein actors act as those from a noble family and slaves, is a pantomime entertaining the audience.

The festival displays the spirit of locals collaborating with each other. In November 2005, it was designated as UNESCO Masterpieces of the Oral and Intangible Heritage of Humanity in recognition of its cultural originality and outstanding artistic quality.

As textile traditionally made in the country, mosi (fine ramie) is made of the outer skin of ramie plant stalks. A record made during the reign of King Gyeongmun (r. 861-875) of Unified Silla makes us assume that it was sold to neighboring countries. Ramie plant is a perennial plant. The stalks close to the root are harvested when they turn yellowish brown and the leaves at the bottom are withered. They are harvested three times a year, i.e., between May and early June, between early August and late August, and between early October and late October. Those harvested between early August and late August are the best in terms of quality.

Fine ramie produced in Hansan is far better than that produced in other areas in terms of quality and exquisiteness. Thus, fine ramie of Hansan has been regarded as synonymous with fine ramie in this country. Fine ramie is produced as follows: first of all, the outer skin is peeled from the harvested stalks; the peeled off skin is soaked in water for about a day and dried; then it is soaked again in water; strands of split ramie pieces are made into threads, and this process of making threads decides the thickness uniformity of threads. Products of Hansan are known for exquisiteness and thickness uniformity. The thickness of threads decides how many strands are to be put into a given space. The threads are starched, and then ramie is woven with a weaving machine. White ramie fabric is made through the process of bleaching based on the repeated process of soaking ramie fabric and then drying it in the sun.

Ramie fabric is usually divided into 7 sae through 15 sae. One sae refers to 80 warp threads woven into a 30cm wide cloth. A cloth with 10 sae or more is called semosi (finely woven ramie). Ramie cloth is easily broken in a space with insufficient humidity. Thus, ramie weavers should work in unventilated space even in summer. They cannot work on a windy or a rainy day. Nowadays, however, white ramie fabric is made by means of chlorine bleaching. The relevant industry is on the decline with the development of modern textile technology.

Fine Ramie Weaving of Hansan has been designated as important intangible cultural heritage to maintain the production skills considering its historical value as material for traditional summer clothes, symbolizing the country’s esthetic quality.

☆Kim Sun-sik, the owner, learned general techniques such as molding, plastic, and glaze from his father (Kim Bok-man) during his middle and high school years, and has been running Gwaneumyo in Galpyeong-ri, Mungyeong-eup, Gyeongsangbuk-do, since his father's death.

☆Since 1958, Jeong Mun-gil has inherited the traditional roof tiles from its father, and has contributed to the restoration of cultural properties, including Buddhist temples such as Buseoksa Temple in Yeongju, Bulguksa Temple in Gyeongju, and Tongdosa Temple in Yangsan; Dosanseowon Confucian Academy and old houses of in Hahoe Folk Village in Andong.

As a result of efforts to restore the traditional tile kiln, Jeong Mun-gil built the only traditional tile kiln in the country in June 2017 and is continuing its experiments and efforts to bake traditional tiles in the future.

☆ Koreans have always held the four most precious ceremonies for ceremonial occasions. In particular, the procedures for regularity are similar nationwide, but they have changed slightly depending on the region.

The coastal areas of Incheon are not only adjacent to Gyeonggi Province and Hwanghae Province, but also depend on fishing for their means of living, so funeral songs are also influenced by the folk songs and sea songs of Gyeonggi Province and Hwanghae Province.

Chaesangjang refers to the skill of making a basket of diverse geometric patterns with thinly cut and colored bamboo skins, or to an artisan with such a skill. Colored bamboo baskets were loved by women at the Royal Court and of the noble class since the ancient period. Toward the late Joseon Period (1392 – 1910), they became popular items even for commoners as necessary articles for marriage. They were chiefly used to contain clothes, accessories, sewing supplies, and precious items. ☆

The first thing to do in making a bamboo basket is to peel off the bamboo skin in even thickness. The skin thus peeled is soaked in water and then trimmed, dyed, and spliced. The edges and corners are wrapped with blue or black satin silk. The designs made on the surface of a bamboo basket are mostly letters or patterns associated with propitiousness.

☆Somokjang refers to the skill of making wooden doors/windows, wooden vessels or wooden furniture like wardrobes, chests, dressing tables or desks, or to an artisan with such a skill.

The name Somokjang was first used during the Goryeo Period (877 – 1394). Until the early Joseon Period (1392 – 1910), wooden furniture was chiefly made for the people of the royal court and the noble class, but toward the late Joseon Period, it came to be used widely even by commoners.

Wood furniture-making artisans use traditional woodworking techniques, striving to preserve the natural beauty of the wood with its patterns.

Geomundo Boat Song is a labor song sung by fishermen in Geomundo Island, South Jeolla Province, while catching fish. The accompaniment instruments include drums, kkwaenggwari and janggu, and when the seon-sori-kkun picks up the sound, other sailors sing in the form of a backstitch.
The song differs depending on the work, so there are many kinds of boat songs, and the spirit and emotions of the simple and powerful fishermen are shown.
- Sulbi sori: A song that is sung while twisting a rope used on a boat.
-Gosa sori: Songs sung to the Dragon King to pray for wealth before the ship leaves
-Not sori: a song sung while rowing an oars.
-Wallae sori: Songs to sing when pulling a song
-Garae sori: a song to sing when drawing up meat
-Sseol sori: a song that you sing when you come home full.

Geomundo Boat Song is composed of unique rhythms and languages as the local dialect lingers. It is also a song that shows regional characteristics and has a unique aspect that is not mixed with other local boat songs, but continues to be purely traditional and cannot be found anywhere else.☆

☆Salpuri Dance is said to have come to this day as its title was called mouth dance, improvisation dance, and towel dance, which became common.

According to the literature, Han Seong-jun founded the "Joseon Music and Dance Institute" in 1934, and during the first Hansungjun Dance Presentation in Bumin-gwan in 1936, he put the Bang-an Dance on the theater stage and used the name Salpuri Dance for the first time.

Since then, a full-fledged Salpuri dance has gradually emerged among the public, and its artistic value has been recognized and inherited as a representative dance of the Korean people's emotions.

On January 29, 2015, Lee Eun-joo was recognized as the holder of the cultural property.

※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616).

☆Changho(traditional window) accounts for a very high proportion of Korean architecture. In particular, most of the walls of palaces are treated with changho. Therefore, Korean changho is an important factor in determining architectural designs, and they are of many types and sizes, requiring advanced techniques and techniques.
Therefore, to make traditional Korean windows, skilled craftsmen(changho-jang) with many years of experience are required. Changho-jang is classified as a somok-jang, because somok-jangs are in charge of decorative parts while daemok-jangs are in charge of the structural parts of the building.
Changho-jang has become an essential part of increasing perfection with its delicacy.

Lee Jong-han, the holder, has been engaged in changho production since 1963, and is recognized as having related functions by participating in repairing changho's of many historical sites' including the Hapcheon Haeinsa Temple, Yecheon Yongmunsa Temple.

The value of protection is high, such as the fact that there are only a few windows nationwide that produce windows essential to traditional architecture and that the foundation for transmission is relatively difficult due to low profitability.

The Gayajin Yongsinje(a ritual handed down in gayajin for the Sea God) is a national ritual handed down from the Three Kingdoms Period to the Joseon Dynasty, and is a folk game based on the ritual of Gaya Jin Temple in Yangsan.

At first, it was gradually transformed into a ritual for heaven and earth gods, praying to the gods, singing and dancing, and today, it is divided into a ritual and a play, such as Junggut, Chomsayeongje, Yongsopool, and Sashinpuri.

The Gayajin Yongsinje begins with cleaning the shrine and village.
The leader of the team will play the Jisinpuri, and the rest of the party will follow as they walk.

When they return to the altar, they go around the altar and perform a ritual called Gangsinje. It is then supervised to hold the Yongsinje. Before leaving for Yongso, which believed that Yongsin(the Sea God) lives, they set fire to kill all unclean, and Pungmulpae even takes off his shoes and burn them.

While carrying a live pig to be used as a sacrifice to the bow, they pour out a drink when they arrive at Yongso, bow to pray for the well-being and prosperity of the village, and offer a sacrifice to Yongsin.

After coming around Yongso, the game iss over when the altar concluded the offering and the chiksa took off his official uniform.

The Gayajin Yongsinje Festival is a festival in which all villagers participate, and it is important to strengthen the harmony of the residents.☆

☆ The tug-of-war is widely practiced in the southwestern part of the Korean Peninsula around the fifteenth of lunar January, and is interpreted as a kind of farming ritual. The village was divided into two teams, east and west, each represented by men and women, and it was thought that the west (symbolized by women) had to win to have a good harvest.

The Uiryeong Big Tug-of-War was established as a festival in which the entire village participated as a folk game with a history of more than 200 years, beginning around 1800.

Jinju Gyobang Gutgeori Dance refers to the Gutgeori Dance, which is handed down by the Jinju Gyobang. Gyobang refers to an institution that used to teach music, song, and dance of gisaeng (女樂··), and it was called Gyobang Gutgeori dance because it started when shamans were absorbed in the Gyobang under the prohibition of shamanism.

Gyobang Gutgeori Dance starts with Jajin Taryeong, which is a gutgeori rhythm. It is calm, sticky, delicate, and mournful.

The Gyobang Gutgeori Dance in Jinju is a traditional dance that expresses the mysterious and fantastic atmosphere of Korean dance, and continues its tradition in the preservation society with Kim Su-ak, who lives in Jinju. ☆