Lee Gil-ju was born in Jeonju in 1950 and learned Korean dance by entering Choi Sun. Honam Sanjo Dance is a traditional dance of the Kibang system that connects Lee Chu-wol, Choi Seon-eun and Lee Gil-ju, and it is a dance that freely sublimates the Korean traditional dance, which is a representative characteristic of Korean dance that performs the best dance according to the improvised sancho performance.

Lee has won a number of competitions including the Korean Dance Festival and the Sicily Dance Festival in Italy.

Kim Gwang-sook was born in 1944 and was taught dance by Jeong Hyeong-in, Choi Seon-eun, and Park Geum-seul. In particular, Park Geum-seul taught dance moves performed by government officials during the Joseon Dynasty. Kim Kwang-sook won a number of awards, including the Korean Dance Festival and the National Gugak Contest.

"Raegimu" is a kind of playful dance in which girls in the classroom, who are exceptionally good at playing music, dance to cheer up the participants at parties or play fields.

This dance is also known as Gyobang Dance, and a gisaeng (gisaeng dance) must not only have a high level of talent but also have a good sense of humor that makes it easy to enjoy.

There are many dances, such as mouth dance, gutgeori dance, and towel dance, which were called the Buddhist monk dance and sword dance, and there are dances in which people dance with double fans, towels, and plates in turn, which are also called plate dances.

Bulsangjogakjang a person who has the technique of carving a Buddha statue.

Yi Jin-hyeong, a holder of Buddhist sculpture in Daejeon City, participated in the carving of Buddhist statues in large and small temples across the country, and is showing professional works by transferring and performing sculptural functions such as Buddhist sculpture shape, proportion, and color. He is also devoted to Buddhist temples for the purpose of functional transfer as well as his own creative activities.

Bulsangjogakjang was designated as an intangible cultural asset as a traditional craft technique.

The term "Somokjang" means a carpenter who has the skills and functions of making wooden furniture such as a building door, window, a wardrobe, a chest, a guard post, a desk, and a door-gap.

Wood furniture was produced in a specific area and was not supplied nationwide, but was produced according to the characteristics of each region, as it was a daily product that had been in constant demand. Since Korea has an ondol room structure, the ceiling is low and the interior is relatively narrow. Therefore, it has different characteristics from Chinese furniture, which has a large standard and emphasized decorative aspects, in that small and simple practical furniture has been formalized to reduce the visual burden and secure a large living space. Dried ink, zelkova, stone pear, paulownia, and sesame porridge are used naturally for four to five years. Traditional tools are used to produce traditional furniture with features such as bookkeeping, ladder and hidden lotus flowers.

The small ranch is a traditional craftsmanship, and Bang Dae-geun has been recognized as a functional holder, continuing its existence.

A small pasture refers to a carpenter who has the skills and functions of making wooden furniture, such as a building door, window, or a wardrobe, a chest, a grotto, a desk, or a doorgap, which is symmetrical to a large construction site.

Currently, holder Kim Kwang-hwan holds the function. It was recognized as an intangible cultural asset holder because it had the ability to restore or reproduce various kinds of furniture and decorations in the temple, which had become the center of ancient culture.

It is said that the liquor made from chrysanthemums, glutinous rice, yeast, and clear water from Biseulsan Mountain smelled like lotus flowers.

During the mid-Silla Period, all of Doseongam, located in the middle of Biseulsan Mountain, was burned down by the folding screen. During King Seongdeok's reign (r. 702-737), Doseongam was rebuilt and temporarily built to provide the workmen with the earthenware.

Later, during the reign of King Gwanghaegun of the Joseon Dynasty (1608-1623), when Biseulsan Mountain was stationed as a thousand-year-old soldier, the commander of the garrison gave this drink to the king and was praised for its unique taste and aroma.

Later in October, various records show that Park Jong-jip, a clan village of the Miryang Park Clan, was passed down to Gayangju from the mid-Joseon Dynasty (around 1680), and has been handed down to his mother-in-law for more than 100 years as his daughter-in-law, or father-in-law.

A drum is a musical instrument that is played by covering a wooden container with leather and tapping it. It refers to the type used in Jeongak and folk music, except for janggu and galgo, which are included in the revolution according to the instrument classification method. Daego refers to the big drum among the North.

The Great Drum of Korea has emerged from the myths of Korea (Dangun Myth, Jumong Mythology) and legends (Princess Nakrang and Jaemyeong High School) and is the oldest Korean musical instrument that has already been used in the customs of ancient society (Yeonggo of Buyeo). It is an essential musical instrument that has been used in Jeongak and folk music.

During the production process of the large drum, the leather processing is stored by salting the raw leather, soaked in water for about 40 hours, then plucked the fur, placed on a wooden board, and crushed to the thickness to go through the foundation and drying process. After cutting wood, Buktong connects processed leather through drying, jigsawing, painting, painting, etc. Materials used for drumming include Odong and Yuksong.

Currently, Kim Jong-mun of Daegu has been recognized as a holder of Daehangjang function, continuing the tradition of making large drums.

The origin of Gayageumsanjo was started by Kim Chang-jo (1865-1919), a native of Yeongam, South Jeolla Province, in the late Joseon Dynasty. Starting with the slow Jinyangjo rhythm, Jungmori, Jungjungmori, and Jajinmori rhythms became faster and faster. It is one of Korea's representative instrumental solo genres, using various groups such as Ujo, Pyeongjo, Gyemyunjo, Gyeongdreum, and Gangsanje. The beauty of the melody, which has a free melody in a certain frame and draws the emotions of the performer by repeating the tension and relaxation, is indeed enough to express the emotions of traditional Korean music.

The transfer of various factions, including Jeongnamhui, Choeoksamryu, Gangtae Hongryu, Kim Byeongho and Kim Jukpa, is taking place. In 1968, Gayageum Sanjo and Byeongchang were designated as important intangible cultural assets, and other factions were well-suited as the holder. However, Kim Byeong-ho's Gayageum Sanjo is considered to have the deepest taste in Nong-hyeon, but it has not been designated as an intangible cultural asset. Kim Byeong-ho was born in Yeongam, South Jeolla Province, in the same region as Kim Chang-jo, the founder of the Gaya Geumsanjo, and his Sanjo is rooted in Kim Chang-jo. Since then, Kim Byeong-ho created his own Yupa, which has a wide range of sounds and a deep taste, and his Yupa has a more unique beauty by using the Umori rhythm, which is not found in other yu. Fortunately, he was transferred by Kang Moon-deuk and Yang Yeon-seop, who were taught by Kim Byung-ho, and Kim Nam-soon and Sun Young-sook are passed down to Kang. Yang Yeon-seop, who also learned from Kim Byung-ho, is training junior students in the academic world, mainly in Seoul. Kim Nam-soon is active in the Yeongnam region, and the transfer is taking place in the Jeollanam-do region, with Sun Young-sook at the center.

Kim Chang-jo, the founder of the Gaya Geumsanjo, was born in Yeongam, South Jeolla Province, and Kim Byeong-ho, who learned from him, is also from Yeongam and needs to be designated as an intangible cultural asset of South Jeolla Province based on his regional background. Since entering Gayageumsanjo in the 1960s, Seon Yeong-suk has been fully transferred from Kang Mun-deuk to Kim Byeongho-ryu Gayageumsanjo, and won the Grand Prize (President's Award) in the string section of the National Traditional Music Festival in recognition of his skills. Therefore, Seon Yeong-suk, who designated Kim Byeong-ho-ryu Gayageum Sanjo as an intangible cultural asset of Jeollanam-do and faithfully carried on his production, needs to be recognized as the owner of Kim Byeong-ho Sanjo and preserved.

In Jeolla-do, which was famous for bamboo crafts, Damyang has long been famous as a representative mountainous area. It is said that Damyang's Jukse Crafts originated from the Chambit, but official records show that the beginning of Damyang Jukse Crafts is a fan.

In the early 17th century, there was already a seonjajang dispatched from the center in Damyang. Damyang was responsible for gathering artisans from nearby towns and sending them to Gongjo. The pyeonjuk sent from Damyang made a fan in the air conditioning.

According to the record that Damyangsan's debt was paid in the "Yeo Map Book" of the mid-18th century, the company has entered the stage of discovering the finished products. From the 17th century to the 19th century, it served as a provincial hall responsible for the truth of the debt in Jeollanam-do.

This tradition has continued and exceeded the previous week (435,000 sacks), with a total of 1.3 million sacks of fans produced in Damyang, including 1.29 million jaws and 10,000 round fans, according to the 1937 statistics of Japanese colonial era. Even after Korea's liberation from Japanese colonial rule, the trend continued for some time.

Since the 1960s, Hapjukseon has withered, but the fans used by ordinary people have been actively produced until the mid-1970s.

The market fan (mak-fan) made by using one side of a bamboo piece as a handle and cutting the other side into small pieces was made by the second section of Hyanggyo-ri, and the wire made from bamboo into a separate wooden handle was produced in Namsan-ri.

The folding fan (Jules fan) was led by Wandong Village in Seongseong-ri, Damyang-eup, and there were three to four households left in Hwabang-ri, Wolsan-myeon, Damyang-gun. Wandong Village was active enough to produce 500,000 sacks a year.

However, from the 1960s, it began to convert into modern design products favored by foreigners while exporting bamboo crafts, and from the late 1970s, the production of debt dropped sharply as cheap foreign debts were imported along with the supply of fans and air conditioners.

Currently, the Seonjajang technology as a traditional craft is in danger of being cut off, so it is necessary to designate it as an intangible cultural asset and preserve it.

Kim Dae-seok, who has the function of tangseon (jumping fan), was born in Damyang, the home of Jukse craft, in Seongseong-ri, the umbilical cord of Julesae, took over the family business that had been fanning for many generations, and is still working continuously. In addition, it does not violate the cultural heritage preservation principle in that it insists on the traditional way of working and preserves it locally.

Famous fans in various parts of Korea, including Naju Line, Nampyeong Line, and Tongyeong Line, are disappearing. Currently, Damyang's folding fan is also in danger of disappearing its hand-made technology at a time when foreign products and materials, including Chinese, are overflowing.

Kim Dae-seok is the only person who inherits all functions from the selection of materials, processing technology to the completion of products, and is essential to the restoration of symbolism of Damyang fan and the preservation of handcraft skills.

In particular, the company retains its original fan-making functions for special purposes, including dance lines, wireless (Mudang Line), tightrope fans, and hallyangmu fans, which are almost out of existence in other regions as well as summer lines. These are our fans with historical roots, just like the summer line.

In the manufacturing method, there is a difference between a function-oriented fan that cuts the thickness of the skin evenly, and makes it strong and well-rounded without holding the top edge and pervert.

Pansori is a stage art consisting of a singer, a drummer, and a pair of spectators. The one who sings makes sounds, lines, and gestures, and the one who plays drums according to the tune of the one who makes the sound leads to an exciting atmosphere.

Pansori is divided into East Pyeonje in the northeastern part of Jeolla-do, West Pyeonje in the southwestern part of Jeolla-do, and middle and high schools in Gyeonggi-do and Chungcheong-do according to its regional characteristics and genealogy. Originally, it was twelve yards, but almost disappeared during the Japanese Colonial Period. Only five yards of Chunhyangga, Simcheongga, Heungboga, Sugungga, and Jeokbyeokga remain until now. The rhythm used in pansori has several rhythms, such as the slow rhythm Jinyang, the average speed Jungmori, the faster Jungjungmori, the faster Jajinmori, and the very fast Hwimori, which are written according to the tense and leisurely dramatic situations shown in the editorial.

Namdo Pansori is a pansori that suits our people well and belongs to Seopyeonje. Han Ae-soon, the current holder of Namdo Pansori entertainment, is said to be good at using the traditional features of Seopyeonje, which is light in vocalization, long in tail of sound, and elaborately woven.

Buddhist paintings are an important area of Buddhist art that is subject to worship at Buddhist temples along with Buddhist statues. After the introduction of Buddhism, Korean Buddhist paintings developed greatly in the form of murals and tangs. Especially during the Goryeo Dynasty, they were recognized as the highest-quality works in East Asia. A Tang painter is a person who paints Buddhist worldviews, such as portraits or scriptures of Buddha or Bodhisattva, which are common in temples. Along with the detailed description, the tanghwa is called a task that is almost a performance as it also requires careful attention to the use of colors.

Lee Sam-yeol was born in 1945 and was taught Korean Buddhist paintings by Kim Il-seop. He participated in the construction of Dancheong and Buddhist paintings in major temples across the country, including Geumjeongsa Temple in Busan, Gimje Geumsan Temple, Gyeongju Bulguksa Temple, Seoul Haknimsa Temple, Busan Seonamsa Temple, Yesan Sudeoksa Temple, Jeongeup Naejangsa Temple, Gochang Seonunsa Temple, Muju Anguk Temple, and Wanju Bongseo Temple.

Lee Sam-yeol faithfully inherits and creates the sketches from Kim Il-seop, and his character's expressive ability is outstanding, and his overall work is excellent, including writing and coloring.

Didilbanga Actuemak Nori has been handed down as a comprehensive folk play, accompanied by dance, music, and ritual ceremonies to pray for the well-being of the village and prevent the disease from spreading more than 250 years ago.

The main vocal was a labor song, which was sung when fishermen made anchor ropes used in the sea. The contents include the sounds of wood, jaws, rope, screeching, chirping, chirping, sorghum, and sarira. Wooden bells are the sounds of cutting down trees, and jaws are the sounds of tight ropes. The stringing sound is sung when a string of three strands is twisted, which is not thick, while the wiggle sound is sung in the process of keeping the line firm and horizontal. The reindeer and chaiing sound is sung when three thin lines are made into one thick string, and when a thick twisted string is rolled, the female voice and sarira sound are sung.

Nongak is the music played by farmers when they squeeze their dure and play percussion instruments such as kkwaenggwari, Jing, Janggu, and drum. It is also called Gut, Maegu, Pungjang, Geumgo, Chigun, etc.

Wooksu Nongak is a nongak that originated from the Cheonwang-Baegi Gut, which was held every year at Dongjedang Hall in this village.

The process of nongak is performed as a wayfarer, Cheonwangdaejigut, which is performed in front of Dongjedang, and a round-demi in which nongak performers dance to the rhythm of Sangsoe in the original form, a yard play in which gongs, drums, janggu, and Beopgojabi players show their tricks in groups, and a Sangsoeobuk-gu, and Z-dong, and quickly turns the performers who sit in the shape.

Wooksu nongak has a characteristic of Yeongnam nongak, which has a relatively fast-spaced and low-spinning melody, and especially the rhythm of Gilgut is unique. In addition, it is unique in that out-of-the-box farming is a rare form of play in the southern part of Gyeongsang-do.