Although its origin is not clear in Anui-myeon, Hamyang-gun, Gyeongsangnam-do, it has been known as the main place where gongs have been made since the Silla Dynasty, and there were 10 places to make gongs until 1970.

Lee Yong-gu, 81, the father of the craftsman, was also taught to be a skilled craftsman at Oh Deok-su's (20-year-old, 亡), who has traditional techniques for making gongs after his father passed away at the age of nine and went into his mother's distant relative's house as a henchman, succeeding Kim Seong-no, Kim Dong-chun, and Kim Dal-yong, the original royal family.

Gyubang Darye is a restoration and succession of traditional Korean tea culture, and the restoration and establishment of tea culture and etiquette in everyday life in Incheon.

Since Lee Gwi-rye, a skilled craftsman, learned tea etiquette from her grandfather who had been involved in the Donghak Movement since childhood in 1973, she received the lifestyle and form from Yoo Seung-guk, a professor at Sungkyunkwan University, and the Jeonju Yi Clan's Incheon Support Center.

In 1974, Dagyeong, Dasin, Dongdasong, and Gukjo Orye were studied in various literature and traditional Buddhist temples. In 1978, the Korean Tea Association and the Korea Tea Culture Association in 1980, the tea ceremony were restored and developed and distributed.

Pogurakmu is one of the dances and songs performed in the royal court, representing the game of throwing a ball into a hole. According to "The History of Goryeo" and "The Treasures of Evil," Pogurakmu originated from China during the Goryeo Dynasty and was passed down to the early Joseon Dynasty. Jinju Pogurakmu originated from Jeong Hyeon-seok's Gyobang song (a song and dance performed to welcome wages on the road) during the reign of King Gojong (1863-1907).

Pogurakmu wears a crown (a hat used for dancing and singing) on a mongduri (a dress worn by a giraffe or shaman). If you look at the sequence of proceedings, you will first place the port gate in the middle and divide it into two pieces. When you play music that marks the beginning, the bamboo ganza (a person holding a stick made of bamboo) goes further and stands on the left and right sides of the port gate, shouting slogans and backing down. Dance in various shapes according to different rhythms and throw the ball into the hole one by one. When the ball goes in, it receives a flower as a prize and sings the song, but if it doesn't go in, it is dipped in a brush with ink and stamped on the face. The last of the chants of the bamboozle is to leave with a dance.

Jinju Pogurakmu is a Pogurakmu handed down from Jinju. The characteristic is that the flower crowns, mongduri and bamboo ganja in the royal port rock dance were removed, a song was added to the performance marking the beginning of the banquet, and a change in the method of reward and punishment was made. Jinju Pogurakmu was handed down as a unique play with folk elements along with various changes as Pogurakmu came down to the provinces, and Jeong Geum-soon, who lives in Jinju, continues to play.

Nongak is the music played by farmers when they squeeze their dure and play percussion instruments such as kkwaenggwari, Jing, Janggu, and drum.

Haman Hwacheon Nongak, a type of nongak in Gyeongsangnam-do, was originated from the villagers who selected the large tree in front of the village as the sacred tree and held a ritual on the first day of the year on the eve of September and the first day of the Sangwol, praying for peace and a good harvest in the village, and playing nongak.

Nongak marched in one line to the rhythm of Sangsoe and danced in three circles to the round Gilgut and Salpugiak, while Yeongsan Da-Dragongigut and Gutmadang played by Yeongsan Dada-Dragongigut and Jangdokgigut played by Yeongsan Daryeonggi, which were played in three circles according to the rounding Gilgut and Salpugiak.Jangdan Nori Gut (Jangdan Nori Gut) is frequently performed in the order of wishing for a good harvest.

Currently, Bae Byeong-ho and Park Cheol are recognized as the owners of Haman Hwacheon Nongak, and they are striving to succeed in the war.

The earliest records in the literature on fan records are the Three Kingdoms Period, in which Gyeonhwon (r. 892-935) of the Later Baekje Kingdom dedicated a duke ship to King Taejo of Goryeo (918-943).

The debt is largely divided into the original and the folding fan, and the craft belongs to the original. Also known as Banggu Fan, there are five-leaf, lotus, reef, taegeuk, and peacock lines, and among them, peacocks have long been loved for their splendid and elegant craftwork.

Lee Han-kyu, a fan function holder, has been continuing to build the craft after receiving the technology from his father Lee Eul-yong.

The sound of bosori in Yongjeong-ri, Buyeo, is called hosang-sori, which means the death of a person who has lived in good fortune for a long time. The exact date of the song's beginning is unknown, but it is believed to have been handed down from a long time ago through Ha Un (the owner of the show).

Yongjeong-ri's bier sound is composed of various sounds, such as Jinsori, even-numbered, two-syllable, and self-sound. Among them, the bier is divided into two parts, and it is characterized by even-handedness in which the bier is exchanged. When the bier goes out, the slowest Jin-sori starts the even number. When one sound is over, another sound begins, not the chorus. In other words, there is a overlapping sound in the form of giving and receiving, which makes it a overlapping sound. Because they sing the other two lyrics, their high singing ability is displayed, and their sad and solemn musicality stands out. These even-handed sounds are found only in Buyeo and Gongju, and are characteristic sounds of Baekje culture.

The sound of the bier in Yongjeong-ri, Buyeo, is unique with its majestic sound that shows the whole community's overcoming of grief over death.

The sound of bier is called dalgong sound, while the sound of bier in Bonghyeon-ri, Gongju, is called dalgong sound. Gongju-si was the administrative center of Chungcheong-do during the Joseon Dynasty, and the custom was developed due to the tradition of Yangban-gun's failure. In Gongju, a bier managed by the government office, Yeokdamjaeng, was introduced, and the sound of Dalgong, a princess, was passed down in Bonghyeon-ri 200 years ago.

Gongju's bier sound is composed of bier sound, sinmun sound, component phlegm sound, and dalgong sound. There are eight kinds of bier sounds, including the sound of the main gim, the chorus of the chorus, and the sad and long jinsori of Chungcheong-do dialect, and the lyrical lyrics of the folk songjo are the main ones. The sound of phlegm gathering the soil of the tomb is the sound of scrotum and frequent sounds of gin and fast bier. The sound of dalgong is composed of four types: the sound of donation, jindalgong, jajundalgong, and saddle sound.

Bonusori in Bonghyeon-ri, Gongju, has been handed down from more than 200 years ago and has an important meaning.

The gat, a traditional Korean hat, was an essential item of attire for men whenever they went out in public. It was referred to by several different names including Heungnip, Chillip, or Pyeongnip. Gannil, the method of making these hats with fine bamboo strips or horsehair, involved a complex series of techniques in which the chongmoja (the cup-shaped upper part of the hat) and the yangtae (its brim) were produced first, and then combined in a process called ipja, which consisted in covering the headgear with silk fabric and lacquering. The demand for Korean bamboo hats declined sharply after the proclamation of the topknot decree and the introduction of Western culture including western-style clothing in the 20th century. The heritage is currently preserved in Tongyeong, Yecheon and Jeju.

Pansori is a traditional Korean genre of epic musical storytelling in which a sorikkun (single performer) presents a long narrative work comprising sori (singing), aniri (lyrics), and neoreumsae (gestures) to the accompaniment of a gosu (drummer). While its exact origin is unknown, some scholars believe that pansori developed during the reign of King Sukjong of the Joseon Dynasty on the basis of Chunhyangga, which was composed by Yu Jin-han in 1754, while others trace its origin to an entertainment mentioned in a document dating back to the early days of the Joseon Dynasty. Still others argue that it dates back to Silla, where folk entertainments called pannoreum were widely performed. The musical accompaniment of Pansori consists of a variety of rhythms called jinyangjo, jungmori, jungjungmori, and hwimori. The drummer accompanying the singer breaks out into shouts of praise and encouragement, such as “Great!” and “Perfect!”, known as chuimsae, at the appropriate endings. During the reign of King Sunjo (1800-1834) of Joseon, there were eight masters of pansori, including Gwon Sam-deuk, Song Heung-rok, Mo Heung-gap, Yeom Gye-dal, Go Su-gwan, and Sin Man-yeop, each of who played a key role in the development of the musical genre into the form we know today. The current tendency is to divide Pansori into the following three schools: Dongpyeonje, which developed in the northeast area of Jeolla-do; Seopyeonje, which developed in the southwestern region of the peninsula; and Junggoje, which developed in Gyeonggi-do and Chungcheong-do. In its early stage, there were twelve great Pansori works, including Chunhyangga (Song of Chunhyang), Simcheongga (Song of Sim Cheong), Sugungga (Song of the Rabbit and the Turtle), Heungboga (Song of Heungbo), Jeokbyeokga (Song of the Red Cliff), Baebijang taryeong (Song of General Bae), Byeongangsoe taryeong (Song of Byeon Gang-soe), Jangkki taryeong (Song of the Cock-Pheasant), Onggojip taryeong (Song of the Miser Onggojip), Musugi taryeong (Song of Military Officials), and Gangneung maehwa taryeong (Song of Plum Blossoms of Gangneung), which were much shorter than the five works remaining today, namely, Chunhyangga, Simcheongga, Sugungga, Heungboga, and Jeokbyeokga. These five Pansori works have been designated as Important Intangible Cultural Heritages by the Korean government and are performed widely across Korea by various performers, including the following select group of government-acknowledged masters: Kim Yeo-ran, Kim Yeon-su and Kim So-hui (Chunhyangga); Jeong Gwon-jin (Simcheongga); Park Nok-ju (Heungboga); Jeong Yong-hun and Park Cho-wol (Sugungga); Park Dong-jin, Park Bong-sul, and Han Gap-ju (Joeokbyeokga).

Ogwangdae refers to a form of traditional folk performance developed in the southern part of Korea including Tongyeong, hence the name Tongyeong Ogwangdae. Initially, Tongyeong Ogwangdae was performed on the eve of the Daeboreum (full moon of the 15th day of the first lunar month), but it gradually came to be performed on other festive days in spring and autumn. Some specialists claim that Tongyeong Ogwangdae originated from a form developed in Changwon Ogwangdae (Mask Dance Drama of Changwon) about a century ago - either by a group of local entertainers or Yi Hwa-seon, an Ogwandae player who moved from Changwon to Tongyeong. Each performance of Tongyeong Ogwangdae is composed of five episodes in which a total of 31 players play diverse characters by donning masks intended to represent them, including Leper, Malttugi, First Yangban, Second Yangban, Hongbaek Yangban, Faltering Yangban, Pockmarked Yangban, Black Yangban, Jorijung, Eight Heavenly Maids, Yeongno, Yeongnong Yangban, Halmi, Jeja Gaksi, Sangjwa, Blind Man, Sangju, Hunter, Mongdori, Lion, and Dambi. Each episode is focused on the complicated relationships between commoners and their views on Korean society and the ruling class. The words exchanged between the characters are typically barbed with sharp satire, effectively mocking the absurdity and hypocrisy of Confucian aristocrats and Buddhist monks. Tongyeong Ogwangdae is also famous for some of its dances, and most particularly the Leper’s Dance, which convincingly expresses the bitter life of a leper, and is also the only Ogwangdae troupe to present the Lion Dance during its performance. Tongyeong Ogwangdae is inscribed on Korea’s list of Important Intangible Cultural Heritages.

Goseong Ogwangdae, whose name is known to have originated from traditional belief in the Five Elements, is a form of traditional folk performance developed in the southern part of Korea including Goseong, hence the name. Initially, Goseong Ogwangdae was performed by the Ogwangdae troupe on the eve of the Daeboreum (full moon of the 15th day of the first lunar month), but it gradually came to be performed on other festive days in spring and autumn as well. Goseong Ogwangdae can be traced back to the 1910s when a group of masked dancers in the Namchon Sect happened to watch a performance of the Tongyeong Ogwangdae (Mask Dance Drama of Tongyeong) which inspired them to develop their own version. It was later influenced by the Changwon Ogwangdae (Mask Dance Drama of Changwon), too, when it developed five dances to form each episode, namely, the Leper’s Dance, Ogwangdae Dance, Monk’s Dance, Bibi Dance, and Jemilju Dance. These dances are presented by a total of nineteen characters including Leper, Malttugi, Won Yangban, Cheongje Yangban, Jeokje Yangban, Baekje Yangban, Heukje Yangban, Hongbaek Yangban, Jongga Doryeong, Bibi, Bibi Yangban, Monk, Bride, Old Man, Old Woman, Jemilju, and Servant. Each performance focuses on the life of commoners, the complex relations between people from different rungs of society, and the absurdity and hypocrisy of Confucian aristocrats and Buddhist priests. Unlike the performances by other Owangdae troupes, its dances lack elements of the shaman’s dance, which was performed to expel evil forces, and instead include more entertaining elements. Performers of Tongyeong Ogwangdae wore paper masks in its early days, but recently they have begun to use masks made of paulownia wood or gourds. Tongyeong Ogwangdae is now inscribed on the list of Important Intangible Cultural Heritages.

Not only are there many large and small islands off Incheon, but they are also close to the lower reaches of the Han River in Seoul, which has a large population and a large number of songs accordingly.

Among them, mudflat songs and boat songs are typical. The song expresses the feelings of women who complain of difficult and difficult lives, and the song of the boat is a song commonly sung by fishermen.

In the song, there is a song called Nananitaryeong in the rhythm of the water janggu and a chant that is sung when the clam is called. The boat song is sung differently depending on the aspect of labor.

There are anchoring sounds, rowing sounds, body sounds when carrying fish in a net on board a ship, sighting boat songs sung while buying and transporting meat from fishing boats on the occasion of a catch, praying for a good fish or celebrating their return home.

The song of the mudflat near Incheon and the song of the boat are representative of the labor songs that fishing workers used to sing.

Folk songs are sung by the people and are passed down from mouth to mouth. It is closely related to life by functions such as occupation, wind speed, play, etc., and may vary depending on the locality or the taste or improvisation of the caller.

The sound of hoedaji is a folk song sung by people to bury the dead during a funeral service and to make a tomb by grinding the soil mixed with hoe. At first, it starts with a slow melody and gradually speeds up, and then it changes into a manna tune that stimulates people's excitement. The hoe-daji sound is in the form of "span class='xml2' onmouseover='up2 (2874)' onmouseout='dn2()'dn2('span')//span>, and it's in the form of "span class='xml2' onm2" (2638. Our ancestors had the crown of paradise, so the sound of bier and hoedaji often included humorous lyrics.

Hoengseonghoi Dajisori was designated as an intangible cultural asset to protect and pass on as a unique functional folk song. Yang Joong-ha, an entertainment holder living in Gangwon Province, is continuing his career.

Okroju is a distilled soju as one of the folklore. Okroju was first made by Yoo Seong-geun, a family member of Seosan, Chungnam, who moved to Sandong, Namwon, North Jeolla Province, from around 1880. In early 1947, Yuyanggi produced 30% alcohol-concentrated soju at a brewery in Hadong, Gyeongsangnam-do. It is said that when the liquor was distilled, the steam was liquefied, and when it saw dewdrops falling like jade beads, it was named Okroju.

Okroju uses good quality underground water and Korean traditional white rice and somaek in a unique way. Unlike ordinary yeast, wheat and Yulmoo are used as yeast. Boil 2 mal of ground wheat and 7 sacks of ground Yulmoo and put it in cooled water for about 3 to 5 hours, then add dried wormwood to mix again to form and float.

Make a rice paddle made of white rice and Yulmoo in a ratio of 1 bowl of brewed water and 4 hop of yeast. Then, add seven bowls of rice under the table and two bowls of brewing water to make rice with dried pollack, respectively. Keep the temperature of alcohol sickness at 20-30°C and ferment it for about 10 days.

When fermenting is completed, distill it using a string of soju, which is more than 85 degrees for the first distillation, and the later one gradually decreases, so adjust it to 40-45 degrees for the total. If you distill 5 pieces of raw material, about 2 tablespoons of 40-degree soju will be produced. Because alcohol is highly strong, it can be stored permanently if it is sealed completely, and the longer it is stored, the better the taste of the better.

The name Gunpo Dangjeongokroju was originally named after Yu Yang-gi, the holder of the function, manufactured alcohol at a brewery in Dangjeong-dong, Gunpo-si. After his death, his eldest daughter, Yoo Min-ja, received the secret recipe and mass-produced it, and was later recognized as a functional holder.

Currently, the brewery is located in Danwon-gu (Daebu Island) in Ansan City, where Yoo Min-ja, her son Jung Jae-sik, and grandson Jeong Do-young are drinking together. Jung Jae-sik was living a life far from alcohol. After finishing studying in France, he returned to Korea and taught students at a university platform since 1998. He had established a solid position in the art world to the extent that he headed the engraving division of the Korean Fine Arts Association. Then, he left school in 2013 and established the current Yedojuga.

Okroju won the grand prize at the 1st Korea Agricultural and Fishery Products Festival in 1996, and was selected as the best spirits in the distilled liquor category at the Myeongju Selection Fair in Gyeonggi Province in 1999.

A small ranch refers to a carpenter who has the skills and skills to produce wood furniture such as a building door, a window, a wardrobe, a gauge, a desk, and a door-gap, which are symmetrical to a major construction site. Flower (는) refers to quince trees and is widely used as a high-end furniture material.

The name "small pasture" appeared from the Goryeo Dynasty, and it was called "ranch" during the Joseon Dynasty, but it seems to have been distinguished from the pasture. Until the early Joseon Dynasty, wooden furniture was mainly made for the royal and upper classes, but during the late Joseon Dynasty, it was widely distributed to the private sector and the number of types increased, resulting in significant regional characteristics.

Cho Ki-jong, who is now recognized as an intangible cultural asset, insists on only quince trees as wood, and the production technique uses the multiplication method of yonggui-jjim in Tonggagu. The entire process, from the use of wood to the finishing process, is faithful to traditional techniques. For example, the use of a log, the technique of knuckle weaving, the use of no glue or nails, the development of various types of jewelry and tools suitable for the furniture itself, and the use of traditional wooden tools at the final stage are unique features that can only be seen in Cho Ki-jong.