Namsadangpae is a folk play group that originated from the working class in the late Joseon Dynasty, and it is a group of professional performers who performed with six kinds of talent: spinning plates (berna), skipping tricks (salpan), talnori (sokbogi), tightrope walking (yoreum), and puppet play (dulmi). It consists of 40 to 50 people, including four to five dungsoe, heat, beep (first-particle), low-pitch, and backers. Cheongnyongsa Temple, located in the middle of a mountain in Seowun-myeon, Anseong, became the home of Namsadangpae, and the origin of Anseong Namsadangpae can be seen as Buldanggol Sadangpae, which was sponsored by Cheongnyongsa Temple.

Anseong Namsadang Pungmul Nori consists of Yeonggi, Seonanggi, and family register, while Pungmul Jab consists of objects, buckgu and Mudong. The pungmul rhythm is based on 'Utopdari rhythm'. write powerful, delicate, slow, and fast rhythms evenly The composition of pangut consists of Insagut, Dolim Buckgu, Gopolim Buckgu, Dansan Distant, Dansan Norim Buckwheat (Yang Sangchigi), Dangsan Dolim Buckgu, Obangjin, Mudong Norim, Buckgu Norim (double-stringed white), Sadongbaeki, Gaetonggeori, Jwaupeulim, Nebaekchigi and Yisugi and Yisukim and Il.

In the early 20th century, many Namsadangpae Mogap were produced, and the pungmul of Anseong was called 'Uldari Nongak' and became the central part of Nongak in Gyeonggi Province. The Namsadangpae, which was active at the time, included Gaedaripae, Ohmyeongseonpae, Simseonokpae, Anseong Bokmanpae, Wonyukdeokpae, and Lee Wonbopae, but the actual origins of Namsadangpae are the genealogy of Baudeok, Kim Bokman, Wonyukdeok, Lee Wonbo and Kim Ki-bok.

In 1982, the Anseong Namsadang Preservation Society was established under the leadership of Kim Ki-bok, who took the Sangsoe class at the Yiwon Bopae. In 1989, he won the Presidential Award at the National Folk Arts Competition. Kim Ki-bok was designated as a holder of entertainment in 1997, but died in 2015. Since then, Sung Kwang-woo, the chairman of the conservation committee and assistant instructor for training, has been striving to perform performances and pass down the event.

Kim Moo-chul was taught the dance by his father, Kim Jo-kyun.

The name of the dance was called "Nammu" due to the nature of the Jeolla region, where traditional dances were held at that time, and the dance performed by Namsadangpae and Mudong etc. as a entertainment at the end of the Joseon Dynasty was performed at Kibang when Namsadangpae were scattered. It is a dance in which Hong-an, which is covered with a fan, is covered with a combination of images of Han-ryang and Heung-heung, and adds to the style, and gives a glimpse of Han-ryang's knowledge and personality, especially the unique charm of foot stepping-stone adds to the taste of the dance.

Entering the 33rd Korea Victory Crafts Competition in 2008

Entering the 14th Jeonju Traditional Crafts National Competition in 2009

2010 Special Selection for the 35th Korea Victory Crafts Competition

The musical instruments used in the Jeolla Samhyeon Yukgak are composed of daegeum, piri, haegeum, janggu, and drum, and are accompanied by a danso. Daegeum uses three modern gold, and the flute uses a spice. Samhyeon Yukgak was performed at various events, including the ancestral rites of Hyanggyo, the sixtieth birthday and marriage of Saga, the ancestral rites at the temple, or the dancing of the sangnyang, or the shooting of a bow.

There are only Nongsamhyeon and Minsamhyeon in the country in the Samhyeon Yukgak Pavilion in Jeolla-do. Nongsamhyeon was refined to perform as an accompaniment for dance, while Min Samhyeon was originally used by private households.

The songs used in the Jeolla Samhyeon Yukgak include Bonyeongsan Mountain, Jungyeongsan Mountain, Janyeongsan Mountain, Hudu, Kokduri, Dolgop, Samhyeon, Yeombul, Samhyeon Doljang, Taryeong, Gutgeori, Haengrak, Gunak, and Dangak. Jeolla Samhyeon Yukgak is characterized by a proper change in the order of music performed according to the content of the event.

Nongsamhyeon in Jeollanam-do learned 48 songs and compositions of Daepungryu, but now only Bonyeongsan, Yeombul, Gutgeori, Late Taryeong, Jazun Taryeong, and Victory Songs are left. Samhyeon Yukgak, which was born because not only ritual music, but also royal music such as Haengak, temple music, and sedentary music were not distributed to local government agencies, has been a major contributor to the promotion of Korean traditional music.

Geumsan Nongak is a nongak that retains the original form of mountain basin-type folk culture developed between Sobaeksan Mountain Range and Goryeong Mountain Range, and it preserves the original form of left-hand Nongak.

Geumsan Nongak is a very professional nongak that has been developed beyond the village nongak stage and developed into a packaged nongak through the geolip nongak stage. Geumsan Nongak has been awarded several times since its liberation as a representative of various competitions held across the country, and pangut of the Geumsan Nongak Band Choi Sang-geun, who toured around the country, has developed and is being passed down with roots in Geumsan Nongak today.

Geumsan Nongak shows various development processes in Geumsan's base culture such as Village Gut, Songgye Daebang Nori, Dure Pungjang, Cheonnae Baegeollipgut, and consists of Yeonggi, Napal, Taepyeongso, Daepo, Changbu, Cooking, Yangban, Nonggun, Gaksi, Halmi, Geolnong, Flower Butterfly, Jeong, Jing, Beopgo, Beopgo, Beopgo. In particular, Geumsan Nongak is developed to the highest level among left-hand Nongak.

The genealogy of Geumsan Nongak is handed down to Kim Soo-dong, Choi Sang-geun, Ju Gi-hwan, Kim Byeong-hwa, and Park Hee-jung as Jeon In-geun.



Geumsan Nongak has different forms and procedures depending on the purpose, timing, and location of the performance. If you divide the types, you will find "Maegut" on Seotdal Geumeum, "Madangbapi" on the New Year's Eve or the New Year's Eve, "Dangsanje" on the fifteenth of lunar January, "Geolipgut" from early 3rd to Daeboreum, and "Boreum," "Geum," "Geum," "Geum" before planting, and "Geum" and "Geum" and "Geum" and "Geumgi"



Geumsan Nongak Village Gut's performance procedures are passed down to Deuldangsan, Naldangsan, Samgut Topje (Dangsan Gut), Mungut, Madang Gut, Sungju Gut, Jeongji Gut, Cheolyong Gut (Janggwang Gut), Siam Gut (Samgut), and Geoggan Gut (Gwanggut), and each process is divided independently. The front gut consists of instrumental and dance elements, and the back gut consists of vocal, performance, and playful elements. In particular, the rhythms that show the local characteristics of Geumsan include Oemachijilgut, various twelve machi, Nejinmachi, Jajinmachi, Yeongi, Dancegut, Pungnyeongut, and Bapsakgut, which are produced, sweet and easy to break, and slow to play, and the forms that are formed very quickly are of high quality music, Samjingut, Gosarikeokgoggi, mokgoggi, Moleonggut, Gosugi, Gosugi, Gosugi, Gosugi, Gosa.



Geumsan Nongak's Chibaegwae is composed of jockey, apron, and duchibae.

1) Number of flags

1 descriptor (numeric), 1 container (memorization), 1 agricultural instrument, 2 young flag, 5 obanggi

2) An apron belly

Nabal, three saenab, six kkwaenggwari, four gongs, eight janggu, six drums, 12 sogo.

3) Duchibae

Daepo Water - 1, Yangban - 1; Gulnong - 1; Cooking - 1; Gaksi - 1; Halmi – 1; Mudong (1 flower butterfly, 1 middle butterfly, 2 changbu, 4 basketball)



The colors of Geumsan Nongak are divided into gisu, apron, and dukchi. The gisu is the same as the gisu, which is the same as the gisu, and the gisu is the same as the gisaeng and the gisu.

In the case of an apron, the kkwaenggwari wears purple daggers, gongs, janggu, drums are purple vests, and sogo is navy vests. In the case of the dutch, the clothes are all distinguished differently, divided into mixed colors and motionless clothes. In Geumsan, a skilled person in the neighborhood made flowers and painted five colors in a beautiful way by decorating the flowers by making samemi (a cedar tree woven like a hat), and older adults still call it samemui and dolmu.

Main growth refers to a craftsman with casting technology who melts iron into a mold to make the desired items. During the Joseon Dynasty, the main growth was centered on light factories where weapons and metal types were made at military bases and main bases. When the factory plan was abolished after the reign of King Yeongjo and King Jeongjo, a private owner of the company emerged from the 17th century. They were responsible for the demand for Buddhist bells, vaults, incense burners, shrines, and runners, and from the 19th century, they gradually declined. Later, during the Korean Empire, the main growth was almost cut off, but rather, Japanese colonial era gradually revived due to increased demand for castings due to the production of military supplies.

Park Han-jong, the main growth function holder, entered the main growth business at the age of 16 and has a long career of about 50 years. The main growth of the Busan area is said to have originated from Kim Seok-gon, the main growth engine of Busan, who founded Beomjongsa Temple in Japanese colonial era. Kim Seok-gon's master craft led to Kim Kwae-jae, who was active in the early 20th century, and Kim Seok-jeong, who ran Cheongjongsa Temple, and Park Han-jong received the master craft from the two men. Since 1987, he has inherited his master, Kim Seok-jeong's Jujong Workshop and renamed it Hongjongsa.

In the meantime, 200 households with less than 1,000 pipes and 10 households with more than 2,000 pipes were selected. Some of the more than 2,000 representative works include Daebeomjong (1991), Daebeomjong (1996), Busan Citizens' Bell (1999), Gimcheon Citizens' Daejong (1999), Shin Eo Beomjong (2001), and Bongnyeongsa (2002) in Suwon.

Park Han-jong's method of casting the bronze bell is based on the traditional Korean technique of casting death penalty, in which half of the life-long sections are modeled and the molds of the inner and outer shapes are constructed and cast separately using a huge rotating shaft. Moreover, the precision casting technique of the Sangwonsa Temple, which was not clear about manufacturing techniques, was reproduced in the traditional way of casting death, allowing it to inherit the mystique of the Korean species, which is highly praised for its excellent sound and pattern beauty.

Jeju Island announced the designation of 'Jinsadaesori' in Aewol-eup, North Jeju-gun, as a local cultural asset after a review by the Jeju Cultural Heritage Committee on the 26th.

The "Sound of Jinsadae," a work song sung by women in Jeju, is considered to have a beautiful melody and elegant characteristics compared to other labor songs.

Born in 1938, Kim Yeon-im was taught by his mother Mun Myeong-sik and Jang Hyeong-

The taste of Jeonju Bibimbap is a result of a good combination of quality ingredients, intestinal taste, excellent cooking skills, and sincerity given to small meals produced under natural geographical conditions. In particular, the quality excellence of food ingredients and the use of appropriate recipes to suit the characteristics of food ingredients.

Kim Yeon-im preserves the original form and is well equipped with her own cooking skills, including how to handle knives, control fire, taste, and stir-fry ginkgo.

Jukyeom is made by putting the salt (salt) in bamboo, blocking the entrance with yellow soil, and baking it nine times with pine wood firewood. In the process, all toxins and impurities in the salt are eliminated and become healthy salts that harmonize the efficacy of bamboo and yellow soil.

These bamboo salt manufacturing techniques have been passed down to the chief monk of Gaamsa Temple. Hyosan Monk (Hu Jae-geun), who holds the bamboo salt manufacturing function, also has been living in Gaamsa Temple and has been trained in bamboo salt manufacturing techniques to further research and develop them to produce high-quality, perfect bamboo salts.

Jukyeom is a unique folk medicine unique to the Korean people, and is a very valuable cultural heritage in its cultural value, with no examples of historical traditions and originality.

A jangdo refers to a small sword worn on the body, which is used in everyday life, as a self-defense device or as an accessory to protect the body. The function and person who makes these jangdo is called 'jangjangjangjang'. In particular, silver is called silverjang, which was also a wedding gift for a daughter who was married to a woman as a symbol of her chastity.

Ulsan was a major mountainous area during the Joseon Dynasty and a site for producing weapons and other military supplies for 470 years, so there were many excellent craftsmen. Ulsan's silver jangdo was even known to Seoul for its delicate craftsmanship and strong tempering.

There are many types of silver jars, including dragon, crane, sagunja, and pacho, including Euljado, a Eulja-shaped knife, and Cheomjado, which has a pair of chopsticks attached to check food poison. It takes 15 to 8 hours to make one silver medal. In the process of making silver jangdo, <span class='xml2' onmouseover='up2(3722)'onmouseout='dn2()'dn2('span')에span class='xml2' onmouseover= onm2 (317').

Salpurichum refers to a dance extemporaneously performed by an exorcist to put an end to bad luck. It is called Dosalpurichum or Heoteunchum. The name salpuri was first used by the traditional dancer Han Seong-jun at his theater performances in 1903. The dancer performs to salpuri music in a white skirt and jacket, with a white handkerchief in hand to express graciousness and sentiment. It is said that the present-day salpurichum is one handed down in Gyeonggi-do and Jeolla-do Provinces. With the stabilization of the country toward the mid Joseon Dynasty and invigoration of the culture of commoners, it developed as a dance performed by clowns. Exorcism rites were prohibited during the colonial period (1910 – 1945) and this exorcism dance came to develop purely as an artistic dance. Salpurichum is a classic dance with high artistic value, expressing popular sentiment through beautiful movements and transforming sorrow into delight.

This is a tutelary rite held in early January on the lunar calendar, or in spring or fall annually, or biennially or triennially near Seoul or Suwon or Incheon, to pray for peace and a good harvest. At present, a complete version of the rite can be seen only in Jangmal, Bucheon. The shrine for village guardians in the pine forest, which is more than 300 years old, tells us that the exorcism rite started during the Joseon Period (1392 – 1910). The rite starts in the morning and finishes the next day morning. It is performed by a hereditary exorcist skilled in songs and dances. Male exorcists liven up the atmosphere, doing tightrope walking, cracking jokes and displaying various feats. Songs and dances by gisaeng (female entertainers) used to be included, but they have disappeared. Participation of male exorcists (called Hwaraengi) in the rite distinguishes Gyeonggi-do Dodanggut from those performed in other areas. Music and rhythms used in this rite follow those of pansori (epic chant). Displaying high artistic quality, Gyeonggi-do Dodanggut is regarded as a valuable source material for anyone studying the country’s traditional culture.

A inkstone refers to a stone that grinds ink, and there are four tools needed for calligraphy, which is a unique culture of the Orient, which are called Munradaeu (Ji, Phil, Muk, and Yeon), among which a inkstone grinds ink.

The ink should be ground well and its own dark color should be visible. On the surface of the floor, there is a fine squirt, such as a whetstone, and the ink is created by pouring water and rubbing it against the ink. Apart from its simple function, it is sculpted in the margin of the inkstone, so the patterns show the emotions of the time.

In general, a inkstone reminds you of a black stone and a wooden stone that is commonly used in the market.

However, the Danyang magnetic wall was called the magnetic wall because the color of the stone was red, and the moisture absorption rate of the stone itself was extremely low, so once ground ink could be used for a long time, the ink would not dry, the color of the ink would not change, and the stone would be soft and hard, so there would be no residue. In addition to the richness of ink and the strength of the gemstone, the ground for grating does not wear out easily, so it can be preserved and used for a long time.

As for the inkstone, it can be carved into a variety of 傳統文, including 雲龍硯, which expresses the dragon and cloud with the best conditions, 日日, which expresses the sun and the moon, 神神, which expresses the turtle, 四友硯, which expresses the pine-tree-maehwa, and 국-四 표현한, which expresses the plum-nancho-chrysanthemum-and-tree.

Under the influence of his father, Habangye, who was working as the 38th Beopsa of the Jeollabuk-do Intangible Cultural Festival, he entered the shamanic house, received a river god in his 20s, performed Naerimgut, and at the age of 28, he was taught Honam Raspir Exorcism by a nutritionist from Gunsan, Park Bok-seon, and Ko Dong-shim.

Honam Spiritual Exorcism is a local folk culture handed down with unique locality and artistry as a form of shamanism that adds both hereditary sorcerer and strong divine characteristics to the afterlife by recovering the souls of drowning people from the water and sending them to the underworld.

Since the Joseon Dynasty, the tradition and customs of the Korean people have been established, and it was a typical trend of leap month in Seoul.

According to Hong Seok-mo's Dongguk Sesigi, "Yundal custom" is believed to have led Jang's women to visit the temple and offer money to the temple, and from heaven." The contents of Dongguk Sesigi appear to have witnessed and recorded in person the life and death of a Buddhist temple in Seoul.

Even during the Joseon Dynasty, when Confucian culture prevailed, temples around the capital city continued to inherit the tradition of Buddhist rites. The temples in Seoul continued to develop these historical and cultural foundations to maintain the reputation of the temple and to establish itself as a seasonal custom of Korean traditional culture.

Seoul's Jesus is worth preserving as an intangible cultural asset of the Seoul Metropolitan Government, given that it is a representative intangible heritage used in Seoul, and that it retains the original form of Jesus, which was seen at the time of the seventh anniversary, after completing the six-year-old ritual ceremony to suit.

Seoul's "Survival Jesus" will be designated as a group without a holder in that it is an intangible heritage handed down through an organization.