Dongnaehak Dance is a school dance handed down from Dongnae area. The dance, which was usually performed during the Dongnae Yaryu or tug-of-war on the fifteenth of lunar January, was named Hakchum because a dancer wearing a gat on a dopo and dancing a deodebaegi dance, "Hakchum is like dancing."

Dongnaehak Dance does not have a separate costume, but improvises in everyday clothes such as dopo, pants, socks, and tattoos. The accompaniment is composed of kkwaenggwari, janggu, gong, and drum, and the rhythm is Gutgeori rhythm.

The dance includes a son-in-law who can move his hands wide, a son-in-law who raises his feet, a son-in-law who can see the crane spreading and cuddling its wings, a son-in-law who looks at the left and right sides, and a son-in-law Bae Kim-sae who moves lightly from side to side with his right feet bent forward.

Looking at the composition, it is not organized in a certain order, like a general folk dance, but free-spirited improvisation and personal style are emphasized.

Dongnaehak Dance is a dance of high artistic value expressed in elegant and elegant dance moves that harmonize natural and artistic beauty.

Entertainment holders Yoo Geum-sun (Guum), and entertainment candidates Lee Sung-hoon (Infinite) are continuing their careers.

Yi Ok-hui was born in Buyeo, Chungcheongnam-do in 1936, and is also called Yi Il-ju.

I learned how to play sound since I was young, and learned the basics of pansori such as Simcheongga and Chunhyangga from master singer Lee Gi-gon. After that, master singers Park Cho-wol, Kim So-hee, and Oh Jung-sook learned pansori and practiced their talents as master singers.

Lee Il-ju sang the pansori part at Jeonju Daeseok Nori in 1979, sang Simcheongga and Chunhyangga at the Seoul National Theater in 1981 and 1983, and won the Jeollabuk-do Cultural Award in 1982.

The term "instrument head" means a person who has the skills or functions of making instruments used in traditional music, such as Janggu, Buk, Danso, Gayageum, Geomungo, etc. North Jeolla Province, the birthplace of Honam Nongak, has a regional characteristic of smooth production and distribution of high-quality pungmul instruments.

Janggu is a representative rhythm instrument imported from the Song Dynasty of China during the Goryeo Dynasty and is widely used in various fields to this day. Also called jango or seyogo, it is used as a material for horse skin and cowhide.

A drum is a musical instrument that is played with leather on a wooden container and knocks it together, often collecting various pieces of pine trees to squeeze the drum and putting cowhide on both sides. Most of the pieces used in court music were nailed down, but in the private sector, more were tied with leather straps.

The Danso is a wind instrument that is made of a pole. There are five holes, one at the top and four at the front, but the fourth hole at the front is not used. The range reaches two octaves, and the tone is clear and clear. It is also used as a solo instrument, but is mainly used for ensemble with other instruments in chamber music.

Gayageum is one of the most representative stringed instruments of its kind, and the Korean alphabet in the ancient literature is called Gayageum, and it is known as Beopgeum or Pungryu Yageum, which are used in Aak or Jeongak. The gayageum has 12 strings tied to silk thread on a narrow, long rectangular wooden board, and a small column of wood that can be easily moved by supporting the rope. The tone is clear and elegant, and has a wide range of performing techniques, so it is used in both aak and folk music.

Geomungo, also known as cash, was first produced by Wang Sanak in the third to fifth centuries by improving Chinese instruments. The oldest document on how to make it is written in "The Evil Trapezius," which states that the front panel of Geomungo is made of paulownia, chestnut wood, and walnut wood. Geomungo was produced by order, the method of making was handed down to the oral tradition, and it is assumed that the level of production skill was also high because it had to satisfy the demanding needs of the scholars compared to other instruments.

As a traditional craftsmanship, Go Yi-gon is recognized as the master of the Danso, Seo Nam-gyu as the master of the drum and janggu production, Kang Shin-ha as the master of janggu production, Choi Dong-sik as the master of geomungo production, and Ko Su-hwan as the master of the gayageum production.

Our telegraph operator Hwahye was originally a pair of boots with a neck, and Hye was divided into separate craftsmen because it refers to shoes with a short neck and no head, but in modern times these two technologies are collectively called "span class='xml2' onmouseover='up262' onmouse2' onmouse



Ahn Hae-pyo, the owner of Hwahyejang, has a clear line of succession genealogy, which has been a family business since his grandfather at the end of the Joseon Dynasty. In other words, in the 1880s, his grandfather produced Heukhye, the shoes of the godfather and officials, and his father took over the family business and made the traditional shoes for a lifetime. Ahn Hae-pyo started to receive the functions of making telegraphy from his father in 1962 when he was 12 years old, and has continued his family business in earnest since 1969.



It also inherits or stores tools such as 1920s' traditional painting capital, new copy, base copy, sand dune complex, wood hammer, shingol, awl and needle, window croaker, ruler, etc. used by grandfather and father, <span class='xml2' onmouseover='up2(6371)'onmouseout=\\\木靴/span>, <span class='xml2' onmouseover='up2(5705)' onmouseout='dn2()'dn2()'dn2(()태/span혜, <span class='xml2' onmouse='



Ahn Hae-pyo, the owner of Hwahyejang, has a strong craftsmanship that has been walking on a lonely path for the rest of his life, solely by making hwahye production, despite the difficult environment of today's industrialized society, and its function is excellent. Moreover, it is worth noting that all the successors, including wives and two sons, are made up of family members, and their functions are excellent as well as their concerted efforts to inherit the Hwahye production function.



Therefore, Ahn Hae-pyo needs to be designated and preserved as an intangible cultural asset for the transmission, preservation, and activation of traditional shoe manufacturing functions, as well as faithfully following the traditional production methods of Hwahyejang, and having its own unique production methods.

Cheongyang Gujijiaju, which has been handed down from the family of Hadong Jeong Clan in Cheongyang, has been a traditional secret recipe for more than 150 years since it was made by adding roots, leaves, stems, and caterpillars as the main ingredients of high-quality rice and potters.

The potter is now widely used as a drink material as well as an essential herbal medicine, especially when taken by drinkers, as his efficacy has been recognized, such as energy enhancement, adult disease treatment, eye protection, skin beauty, improvement of concentration, and cleanliness.

Using such a highly effective reporter, Immungeunsul is a liquor that contains the medicinal properties of the reporter, and is characterized by a reddish color with a rich fragrance and refreshing taste and a clean hangover without any hangover.

The vines are called Yongrin (dragon), Sangchundeung (常春藤), and Mokbanggi (木防己) in Chinese characters.
Depending on the province, it is called Jang Tae-mi or Jang Dre-mi in Gyeongnam, and Dangdang, Jeongdeung, and Jeong-dong in Jeju.

The stems of the Dengue vines are durable and very elastic, have features that bend well in wet conditions, and are the most advantageous of the full-crafted materials.

Also, the diameter of the stem is less than 2mm, so the texture of the artifact is delicate and fine. Due to these advantages, our ancestors made and used the tripe, spoonbills, baskets, and vegetables from early on.

However, as all traditional handicrafts did in the midst of the rapid wave of industrialization, the function of the dengue-tung-tung-tung craft gradually became disconnected. In a four-year straw and grass craft survey conducted by the National Research Institute of Cultural Heritage from 1992 to 1995, Jeju Island and Hongseong (Baek Gil-ja) were the only places in the country that made crafts based on dengue vines.

Baek Gil-ja is a skilled craftsman with excellent skills throughout the whole of grass crafts such as sari, barley straw, and wheat, and in particular, the daily crafts made of Deng-Deng-Deng-Deng-Dang are the only ones in Korea.

Wonju Hanji Market reproduces and inherits the entire process of hanji production in a traditional way, and it shows regional characteristics and distinct uniqueness in the origin and use of hanji.It has been designated as an intangible cultural asset in Gangwon-do because it is recognized as a traditional culture worth preserving in terms of entertainment.

Nongbauksi is a ritual for rain that is held in various villages including Jewon-myeon as well as nearby villages, focusing on Eojae Village in Burimyeon. If rice planting is not done because it is not raining until the summer solstice passes, the villagers are very worried and have a rain ritual to solve the drought.

If natural disasters are not solved by human power, the ritual of rain is held as part of the community's collective consciousness to solve them through transcendent beings or various sorcery. The rain ritual is a way of living in a community where everyone in the village tries to overcome the difficulties of reality by solving the psychological conflicts that have accumulated because it does not rain and by preventing or reducing the impact of broken living rhythms.

The rain system is generally attended by wives in their 30s and older, with men excluded. Men must carry the necessary load for the performance and leave the place. Only women sing Nongbau's songs in a melody and sound, and enter the water of the valley below Nongbau, play with their naked bodies, and end the show, which is so auspicious that the sky gives rain.

Lacquer of everyday objects or containers not only prevents damage from moisture and insect infestation, but also helps to withstand high temperatures. As a result, lacquerware was widely used from prehistoric times, and lacquerware decorated with colorful jewels appeared as they entered the historical era. During the Unified Silla Period, lacquerware decorated with expensive Western oaks and turtle shells appeared, and in the 9th year of King Heungdeok's reign (834), a ban on luxury was imposed. Since then, the decoration of the lacquerware has been made of shells commonly found around it. In other words, najeon lacquerware became the only decorative lacquer in Korea.

Tradition has continued so far.

Bae Geum-yong, a native of Gochang, North Jeolla Province, started his career when he worked at a Najeon Chilgi workshop in Mapo. Later, he was taught skills by Shim Bu-gil (a holder of important intangible cultural heritage) and Choi Jun-sik, a former teacher at the Tongyeong Najeon Chilgi Training Center, a public technology school.

He also developed his own technique of inserting patterns into metal wires, and pioneered new areas of the lacquerware. In 1988, he was selected from the Cultural Heritage Administration (CPA) and won a number of awards and special prizes at the Dong-A Crafts Festival in 1989. In addition, he has won seven other awards at the 1990 Gyeonggi-do Crafts Competition.

Najeonchigi, also called "self-painting craft" in Korean, is one of the decorative techniques of woodworking, and refers to craftwork decorated by cutting and pasting thinly sliced shells into various forms on the surface of lacquer wood products. Its mystery and beauty are considerable because it produces various colors depending on the direction of the shell attached and the direction of the light. Above all, it has excellent preservation, and its color does not change over time.

It takes a lot of process to complete the lacquerware. First, nothing is easy, from grinding the inner bark of abalone to cutting the edges of the abalone into a string that corrodes the edges of the abalone, cutting the skin thin with a knife, and cutting off the skin of the abalone. Then, after peeling the white bone with be applied, paint it on the white bone, beating the paint and soil to create a rough patch and a rough sketch. After that, holes are drilled into the pillow with a type, and patterns are cut with a real saw, and a paper copy is attached with a magnet and pressed with an iron. After removing the paper copy and applying it one more time, wipe off the lacquer on the pillow, and use the iron to make one work complete.The owner, Kim Jung-yeol, has mastered the technique in Tongyeong, South Gyeongsang Province, which is famous for its lacquerware, and is said to be the most Korean-style lacquerware. It was designated as the "Chilgi No. 96-19" in September 1996 and received the Presidential Commendation for its contribution to the development of traditional culture. It was also designated as an intangible cultural asset in 1998 for the first time among the Korean master Najeon Chilgi occupations.

He's been working hard for a long time to keep the leech going. In 1999, he is constantly participating in overseas touring exhibitions as well as the first artist of the "1st Cheongju International Craft Biennale."

In 2011, the Cheonbong Najeon Chilgi Experience Center was opened to promote the beauty of Najeon Chilgi to many tourists.

Embroidery has been widely used since ancient times as a means of ornament that allows colorful and free expression of patterns using simple tools of thread and needle. I sew threads of various colors on a needle and apply different techniques to make clothes.

It began naturally with the addition of decorations on top of the clothes and developed with the attire of religious or ceremonial events.

The oldest record on embroidery was written in the previous Buyeo edition of "The 30th Dong of the Three Kingdoms" which states, "The Buyeo people enjoy wearing clothes made of great gifts, great gifts, gold, and great gifts when they go abroad." 『후한서後漢書』 동이전 고

The Gurye episode recorded that "the government officials wore silk embroidered when they gathered at the meeting," and the Samguk Sagi (삼』』) recorded that fans embroidered in Silla were used as small tools, indicating that embroidery was prevalent.

During the Unified Silla Period, a ban on wearing clothes was imposed in 834 (the 9th year of King Heungdeok of the Unified Silla Dynasty), and there was also a ban related to the number of gold. The use of silk embroidered with silk was regulated on socks and shoes, and the use of silk embroidered on saddle tongs, saddle posts, and feet was prohibited. In addition, the use of embroidery bottle pungent was prohibited for bones and nutmeg. This suggests that embroidery extends not only to doubles but also to household goods.

In the Goryeo Dynasty, embroidery was newly developed. According to the records of "Goryeosa Temple," the royal court and the general library were installed to make handicrafts. In addition, the Annals of King Munjong recorded a collection of well-preserved men and women in each palace after the king's death, indicating that the king's royal seal was made to pray for the king's paradise.

During the Joseon Dynasty, there were embroidery decorations dedicated to the royal family's clothing and other articles. In addition, the system of wearing a rank badge on the front and back of the official uniforms of the civil service officers increases the demand for embroidery. The embroidery developed with distinct features, which were largely divided into Gungsu Palace and the people of Minsu. The private sector also used their spare time to produce and use embroidery decorated with water for various daily ornaments and supplies, such as Norigae, Bojagi, and Bangseok.

Born in Kanagawa Prefecture in Japan, Shin Sang-soon returned to Korea after graduating from a small school in Japan and learned embroidery from Kim Nan-choong, a teacher at Masan Girls' High School, in the 1950s. In 1971, the company set up a self-made workshop called Hwarin Workshop to bring embroidery closer to everyday life, focusing on household items. The paintings include the Hwajodo and Baekdongjado and 子子 Byeongpung, which are rich in living emotions. It also strives to collect and reproduce embroidery artifacts from the Joseon Dynasty.

Among the relics related to embroidery, the oldest are the chains of short pieces excavated from Hwangnamdaechong Tomb in Gyeongju during the Silla Dynasty and the Royal Tomb of King Muryeong in the Baekje Dynasty.

Although the artifact was excavated in short pieces, it is a rare artifact that shows that the most commonly used technique in East Asia was used during the Three Kingdoms Period. In addition, the Four Seasons of Embroidery, which are presumed to have been the Goryeo Dynasty, include Byeongpung and Amita Yeorado. The Amitabha Buddha was a Buddha who led the souls of the dead to paradise while staying in the paradise, and it is estimated that Buddhism flourished greatly in the Goryeo Dynasty due to the belief of the patriots.

During the Joseon Dynasty, the number was embroidered on the wardrobe, red robe, robe, rank badge, and rank badge. There are very few examples of embroidered dresses, embroidered skirts, jeogori, and incense burners. Buddhist embroidery has lyrics, table manners, and suBul. Among them, Yongmunja Sutak, No. 244 of Important Folklore Cultural Heritage, housed in the Seongbo Museum of Seonamsaeng, is highly regarded for its value. It is embroidered on a very large scale with special techniques and colorful colors.

Hwang Soon-hee, a master of embroidery, was born in Yeocheon, South Jeolla Province, in 1949 and was taught by her mother by adding her hobby to embroidery during the elementary school's lyrics class. At the age of 20, he studied Oriental embroidery at the embroidery lab in Jeongneung, Seoul, and then studied it to Han Yeong-hwa (currently the holder of intangible cultural assets of Seoul). Some of the works include Yongbo and Hunbae, Ilwol Oakdo, Sipjangsaengdo, Hwarot and Sui Norigae. In addition, many excellent works were produced through a long study of royal embroidery.

A brush, ink, paper, and inkstone are some of the oldest writing tools. Relics from the Three Kingdoms Period were also excavated in Korea, but they may have been used before then. The dignity of the inkstone is determined by the quality of the stone making the inkstone and the level of carving on the inkstone.

In general, the stone of the inkstone has a low hardness, making it impossible to make lively sculptures. What helped overcome this limitation was Danyang's magnet 石, owned by Shin Geun-sik, the owner of the rice paddy field. The stone is unique and beautiful in color, but it is two to three degrees stronger in hardness than other inkstone, allowing it to be carved in three dimensions.

Magnetized inkstone is practical. Other stone-capped inkstones are carved with stones, and when the stone eats water, it becomes weaker, causing more residue, and as time goes by, the stone bursts and splits. But despite its firmness, the magnet grinds its prey finely, and no dregs occur. In particular, even if water is stored for several days, it is so water-resistant that it does not permeate, that it does not crack or burst even after decades or hundreds of years.

Shin Geun-sik started his family business when he was 17 years old and ended his apprenticeship period, which usually takes three years. His works vary in size and shape. There are many original works such as dragon, turtle, and horseback riding.

Also, Shin Geun-sik's works give the same impression as woodwork. The reddish colors and engraved patterns are delicate and soft, making them look like woodblocks and pasting them.

When a funeral is held due to mourning in the village, the remains of the deceased are carried out as bier. At this time, the sound of the bier is the sound of the bier, and when the singer shakes the key and picks up the sound of the front, the patrons carrying the bier get the backstabbing. It starts with a slow-pronounced long sound, and when the bier leaves Donggu, it sings a little faster, and when it goes up a steep mountain path, it sings a fast and powerful sound. After arriving at Zhangjiyue, the song sung in the process of ironing out the mound is the sound of hoedaji. When one of the singers chokes up the sound, the rest of the people mince the sashimi while receiving the backbiting.

Yangju Sangyeosori consists of a long sound and a jajin sound. The long Sangyeo sound is a slow gutgeori rhythm, and the back sound is 'uh-huh-uh-huh-uhri Neomchaeoha'.

The Jajin Bonusori is a voluntarily gutgeori rhythm, and the back sound is briefly 'oh oh oh ho'. The tune of Sangyeosori in Yangju region is menaritori.

The sound of a hoedaji includes a variety of sounds. The long dalgosori is played by a long gutgeori rhythm and the back sounds are "Ehuri dalgu" and steps on the dirt with their feet. Afterwards, the sound of self-hearing and Gyeongtori tune was called. Hoesimgok or Chohanga are sometimes sung in the rhythm of the dalgu sound. The following sounds of floriculture, boss's sound, body sound, and chirping sound are the same as the agricultural songs called gimmaegi. In the meantime, the lunar calendar ends with the sound and the mound is completed. The sound of bier tea includes not only mourning for the dead, but also labor-critical nature of holding funerals with neighbors.

The sound of Yangju Bierhoi Daji was activated in 1995 when the village's youth formed the Bier and Hoedaji Sori Preservation Society and the nation's first training center. Currently, Hwang Jung-seop, the owner of the festival, is performing various performances and is striving to win the victory.

Yangpyeong bier and hoe daji are funeral rituals that are handed down in Yangdong-myeon, Yangpyeong-gun, Gyeonggi-do, ranging from a song sung by people who perform fortune-telling and consolidate their graves.

The sound of the bier is sung during the funeral process of carrying a coffin containing the body on a bier and carrying it from the house to the Jangji-dong site. On the night before the contest, the bier carries an empty bier and the bier members sing and play, which is called a "stand-up." On the morning of the birth day, after the funeral ceremony, the bier bowed twice with the bier on, and then went back and forth three times singing a long bier, which is said to be "fit their feet." When the bier went out, he used the drum along with the trick. When the seonsor shakes the knack and picks up the sound, the drummer plays the drum and follows. When a bier leaves the house, it sings a long bier sound, "Eogeum-cha-sori," and when it goes fast, it sings a voluntary bier-sori, "Eo-hwa-sori." In this area, bier was said to have sounded long when climbing steep mountain paths or crossing narrow single-wood bridges.

When the bier arrives at the burial site, it digs into Gwangjung , a hole where the body can be buried, and goes down the hall. After that, he poured soil and sashimi and did hoe-daji three times, which is said to be "hardening up the three senses." The sound called in this process is the sound of a hoedaji.

They sing long dalgoo sounds, followed by voluntary dalgoo sounds. The long hoedaji sound is hit by the slow Gutgeori rhythm and the back sound is received as Voluntary dalgu sound is given to the rhythm of Jajan Gutgeori and the back sound is given to the rhythm of Jajan Gutgeori. At the third end, the song ends with a song titled "The Bird Chasing" in a Menaritorian tune on the Jajin Gutgeori rhythm.

Yangpyeong's bier and hoe-da-ji sound is meaningful in that it reveals the characteristics of the eastern part of Gyeonggi Province. Yangpyeong Bier and Hoedaji Sori Preservation Society is formed, and since the death of Choi Won-san, the artistic owner, Choi Bong-ju, the head of the conservation committee, is currently working on various events and competitions to win the victory.