Pansori Gobeob was born after the mid-Joseon Dynasty when Pansori was settled, and the drummer (the drummer) accompanies Pansori to the north.

Since the ancient law was an accompaniment of pansori, it was not often used to promote the master, so it was very rare to see famous master singers during the Joseon Dynasty. In addition, the development of classical music was minimal as it was regarded as a means of Pansori classes. In the late Joseon Dynasty, pansori developed with a wide variety of characteristics, but it was not until the end of the 19th century that professional masters came out to develop the classical music.

There are many theories in pansori-go method, but it can be largely divided into posture theory, breakdown theory, and acting theory. Posture theory puts the drum in front of the left side of the singer and sits facing the singer. The drum pulls to the left, puts its left thumb on the left side of the drum, and hits the left side of the barrel. Hold the drumstick in your right hand and put it on your lap, and hit it to the sound, but do not go up from left to right and above your head to head. Gojang theory is that a drummer beats the rhythm according to the sound of a singer, and plays the beginning of the syllable and the flow of the melody by hitting the drum and leather using his hands and chae. The theory of acting allows the master to accept the sound (chang) and the aniri (horse) as the opposite of the singer, and depending on the sound, the sound of the singer naturally connects with the sound, adding excitement to the sound, filling the gap in the sound of the singer's sound.

Jeong Hwa-young and Song Won-jo are recognized as the holders of Pansori High School Act entertainment.

※For more information on the above cultural assets, please contact the Seoul Metropolitan Government Department of Historical and Cultural Heritage (☎02-2133-2616).

Somokjang refers to a carpenter who has the skills and functions of making wooden 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.

The name "small ranch" appeared from the Goryeo Dynasty, and it was called "ranch" during the Joseon Dynasty, but it seems to have been distinguished from the main sections. Until the early Joseon Dynasty, wooden furniture was mainly made for the royal family and the upper class, but during the late Joseon Dynasty, it was widely distributed to the private sector and was highly diversified, resulting in significant regional characteristics.

For example, in the southern part of the country, wooden ornaments were used as a precious feature of the tree and were not coated with lacquer. Tongyeong is a typical example. The wardrobe in Hwasun, South Jeolla Province, combines both patterns, lacquer and decorations, and features a black tree. As such, the purpose of the wooden furniture is to maximize the wood texture of wood and pursue natural beauty. Therefore, small wooden furniture was made based on the form, standard, technique, and pattern of traditional furniture.

Function holders Kim Chang-sik and Shim Yong-sik are continuing the trend.

※For more information on the above cultural assets, please contact the Seoul Metropolitan Government Department of Historical and Cultural Heritage (☎02-2133-2616).

Park Jae-hwan began to transfer the production of pottery from his grandfather, Park Ki-seok, and his father, Park Pal-won, around 1948. From 1958 to 1970, Onggi manufacturing techniques were introduced at Onggi factories in Chungbuk, Gyeonggi, Chungnam, and Incheon. In 1971, the Onggi Factory was established at its current location and has continued to be produced.

Onggi production processes such as Bajil, Daejangil, and Gamil are carried out in traditional onggi production methods. Onggi-making tools such as spinning wheels, ttukmae, painting, bat, and supporting wood have traditional styles. Natural materials such as pine needles, bean pods, and grass leaves are used in combination with medicinal soil according to traditional methods as raw materials for lye.

The 9-kan kiln is a traditional earthenware built with slightly different slopes considering the influence and temperature of the fire. According to the status of the onggi production, Park Jae-hwan's grandfather settled in Osong-eup, Heungdeok-gu, Cheongju-si and led to his grandfather Park Ki-seok and father Park Pal-won, who became a means of making onggi for his entire life. He was interested in onggi production at the age of 11 and has been continuously working on the on the onggi production technology for 50 years.

According to the characteristics, Bongsan-ri, Osong-eup, where Park Jae-hwan's onggi production plant is located, has a lot of quality clay suitable for onggi production, so it is noteworthy that onggi is made using only clay from this area without inflow of outside clay. The fact that this village is a "occupation village" also shows that these onggi production activities have been carried out, and the traditional onggi-making system is equipped with a 9-kan traditional onggi kiln facility, which is not easily found today, and the traditional onggi-making technology continues.

Park Jae-hwan has been actively working on Onggi production in the traditional Onggi production method throughout his life. The preservation and restoration of traditional onggi production techniques has continued to be carried out in the traditional onggi production method.

The field manager was responsible for the production and repair of some iron materials in construction, especially the extension required for construction construction.

The field managers produced iron using forging iron tapping and casting techniques to melt iron with tools such as hammers, tongs, and whetstones.

Cheon Cheol-seok meets Kim Chun-tae, Somokjang who was born in Gui-myeon, Wanju-gun in 1959 and held Seorabeol Crafts at the age of 13, and begins his journey to the small ranch.

He wandered around because he had no money to buy tools, and began to learn from the basics at the workshop of the late Cho Seok-jin, who was an intangible cultural asset ranch in Palbok-dong, Jeonju, and North Jeolla Province.

Even when traditional craftsmen were losing their jobs due to the advent of the industrialization era, Chun Cheol-seok insisted on the work of a small ranch, and won several awards including silver at the 1980 Jeonbuk Skills Competition, silver at the 81st National Skills Competition, gold at the 1983 Jeonbuk Skills Competition, two times at the 1997 and 1998 Korean Traditional Crafts Competition, and second-class furniture and Changho Production Technicians in 1998.

Cheon Cheol-seok, who completed the function of Jeonjujang, is making a field using zelkova and oak tree. On October 24, 2014, it was designated as Jeollabuk-do Intangible Cultural Property No. 19-4 Wood Furniture Small Ranch.

Wang Giseok.

- Sasa to Namhaesung, Park Bongsul, Oh Jeongsook, Sungwoohyang.

HJ: Graduated from the Department of Korean Traditional Music at Autumn Art University

- Graduate School of Korean Music at Chung-Ang University.

- 2005 Jeonju Daesupnori Pansori Award for Master Singer. (Presidential Award)

- KBS Gugak Grand Prize in 2014 and Pansori Grand Prize.

- He is the younger brother of Wang Ki-cheol, a master singer.

The Intangible Cultural Property of Jeollabuk-do, Pansori No. 2 Lee Yong-gil Myeongchang

Lee Yong-gil's master singer became an intangible cultural asset of North Jeolla Province (Kimje City) with "Chunhyangga" out of the five pansori yards. The five madangs of pansori are Chunhyangga, Simcheongga, Sugungga, Heungbu and Jeokbyeokga.

Born in Baekgu-myeon, Gimje in 1935, Lee began to learn pansori at the age of 22 (1956) as a apprentice to Kang Jang-won, a disciple of Lee Dong-baek, among the five modern singers.

Mainly I learned the clippings of 'Sugunga' and 'Chunhyangga', and Simcheonga also learned some.

I learned 'Heungbo' from Park Cho-wol at the age of 30 and 'Samgochor' from Jung Kwang-soo at the age of 32.

From the age of 38, he entered the school as a student under Chung Je-jin and studied the two foundations of 'Chunhyangga and 'Simcheongga'. After that, Seong Wu-hyang bought a complete version of Chunhyangga.

The last Jeokbyeokga was taught by Jeong Cheol-ho.

Although this master singer plays five pansori roles, Kim Sejongje and Chunhyangga are mainly engaged in transmission activities.

Since 1990, he has been teaching students for more than 60 years, and hundreds of his students have been raised, most of whom are middle and high school teachers.

Since 2000, there have been annual student presentations, and there are about 20 old students. (representative disciples: Cho Joong-cheon, Jung Kyung-hwa, Park Soon-hee, Lim In-hwan, Kim Geum-ja, etc.)

The Korean traditional music is composed of sijoshi (Korean traditional poetry) and sung to orchestral accompaniment. It is also known as 'span class='xml2' onmouseover='up2 (2487)'onmouseout='dn2()'dn2((an)삭삭노노노노노>>>>>' or '노.'

It is known that the original version of the song was not sung in the late Joseon Dynasty, when the song "Mandaeyeop," "Mandaeyeop," or "Mandaeyeop," was lost before the reign of King Yeongjo (1724-1776). The current song originated from the fast-paced song "Sakdaeyeop," which appeared in the late Joseon Dynasty, and is composed of a collection of songs that are related to the melody.

The song is divided into five chapters, with a prelude, a rental note, and a second, third, middle, fourth, and fifth chapters. Very organized and well-organized. If you look at the rhythm, there are 16 beats of slow speed and 10 beats of fast speed of "pyeonjangdan." The performance consists of Geomungo, Gayageum, Haegeum, Daegeum, Danso, and Janggu.

Lee started learning Yeochang song and sijo from Han Yang-su, an intangible cultural asset of Jeollabuk-do, and has continued to communicate and engage in activities with local politicians. In addition, as a professional who majored in Jeongga in college, he combined theory and practical skills, and was recognized for his skills through seven solo concerts.

Fraud means a person or a person who makes a bowl form by mixing white clay, etc., and then makes a bowl baked at a high temperature of 1300°C or higher.

In the late Joseon Dynasty, when government-controlled ceramics were closed, potters scattered across the country, and folk songs (where ceramics are made in the private sector) flourished in the provinces.

Banggok-ri, Daegang-myeon, is also widely known as one of the places where folk pottery was produced during the Joseon Dynasty, and potters who are still making traditional pottery are still active.

In particular, Seo Dong-gyu, a functional holder, was born and raised there and has been devoted to making starch. In the early days, tea cups centered on Dawan were well received by Japanese favorite artists, and melodies were reproduced using natural yuak.

Banggok-ri Melting has a unique characteristic that it does not spoil, cool quickly, and does not stick to the fat.

In addition, the intense lines, majestic shapes, and delicate yet soft droplets that appear during baking in a pine fire kiln are aesthetic expressions that no one can imitate.

The production process is as follows.

1 Prepare to remove firewood with pine trees directly removed from Hwangjeongsan Mountain

2 Mud mixing (making sand soil) with soil enriched with granite

3 Digging the sand and putting it in the water

4 Rinse out the water a few times

5 Drying soil

6 To knead and knead dry earth

7 Molding on a dough spinning wheel

8 Use fire above 900°C for 3 hours

9 Apply glaze made of lye (because it is fragile)

10 Cooking glazed bowls for 16 hours on a light fire

11 Applying ashes to burn elm trees



* Functional holder Seo Dong-gyu

Seo Dong-gyu was born in Danyang, North Chungcheong Province, in 1938 and entered Banggok pottery in 1956. Starting with the Gyeonggi-do Folk Art Competition, he will participate in various exhibitions, including the Dong-A Art Festival's entry into the craft section, the Korea Art Exhibition's special selection of the craft section, the Korea National Exhibition, the Korean Traditional Ceramics Exhibition at the Hawaii Invitation Hall in the U.S., and the Tokyo Exhibition in Japan.

In 2000, he was awarded the Minister of Labor's Commendation, and in 2001, he was awarded the Prime Minister's Commendation. By 2002, he was selected as Chungbuk Intangible Cultural Property No. 10. His family has made pottery since his grandfather's unit, and Seo Dong-gyu has been making pottery for three generations.

Park Ae Sook

- 2001 Presidential Prize for the 11th Gimhae National Night Competition
- 2003 3rd World Art Exchange Association National Culture and Arts Award for Gugak
- 2011 North Jeolla Province Governor's Letter of Commendation

Choi Dae-gyu is the preservation of the traditional najeon method, which is gradually being considered.The students and others are devoted to the transfer of traditional embroidery.

- Encouragement prize for the 29th Jeollabuk-do Craft Competition 2006
- 2007 8th Jeollabuk-do Tourism Souvenir Contest Award
- Silver Prize for the 13th Jeollabuk-do Tourism Souvenirs Competition 2012

Yi Sin-eop runs a workshop, and is dedicated to the preservation and transmission of traditional Nakjuk techniques.

Moon Jung Geun

1992 First National Dance Festival Acting Award

1997 Jeonbuk Arts Awards Dance Division

2008 Minister of Culture, Sports and Tourism Award

Dansojang refers to a person who makes a Danso or a technique, and Danso is an instrument of wind and wind.

Use Hwangjuk or Ojuk as ingredients for making Danso. The production method is to boil bamboo in salt water for about 10 hours to remove oil and then apply heat to straighten out the bent part. Then soak it in cold water for about 10 minutes and let it dry for more than three months in a well-ventilated shade. The dried bamboo is cut 500mm long, cut back 420mm, then make a half-moon-shaped Chuigu and pierce the ground. Chuigu is the place where the breath is breathed, and Jigong is the part where the fingers control the pitch.

Dansojang was designated as an intangible cultural asset for the protection and transfer of traditional craftsmanship. Kim Hwang-jung inherited the Danso production function from his late father Kim Yong-shin.

After his father's death, he became the head of a boy's family at the age of 14 and learned pottery skills from time to time by helping his family's livelihood in the Gwaneumni Sajeomgama. Since the age of 18, Mungyeong area has been known as a well-known swindler. He became a midwife of the Mungyeong Traditional Tea Bowl Festival in 1999 as he was selected as a master of Korean traditional tea ceremony in 1995 and became known as a craftsman who continued the tradition after the war. Although exhibitions of works have been held mainly overseas, about 80 exhibitions have been held in Korea since the 1980s due to the growing interest in Korean traditional culture. The Docheon Scholarship Association was established with the proceeds from the exhibition, and most of the donations were made to community service activities.

In order to promote and promote the excellent traditional ceramic culture, various workshops are held at Mungyeong University and Korea Art High School in Icheon, Gyeonggi-do to teach the demonstration of footmills and how to make glaze. Not long ago, it registered a patent for the first time in Korea to compensate for the shortcomings of traditional mounted kilns. Thanks to his efforts to inherit and develop the traditional culture, he was awarded the Order of Korea's Dongtan Industrial Medal in 2005, and was selected as a functional Korean in 2006 and awarded the Minister of Labor's commendation. In November 2008, he was the first Korean to receive the Order of the Japanese Order of Cultural Merit, Wookil Ssangjang. In October 2018, the Hwagwan Order of Cultural Merit was awarded to those who contributed to the development of culture and arts.