K-Cultural Heritage 6 Page > Little Korea


Everlasting Legacies of Korea

  • 2006.12.27
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    Jindo Sopo Girlgun Nongak is a cultural heritage that is still alive in the community life of Sopo Village. It maintains the original form of a village ritual on the south coast with its history, characteristics of a thief, and genealogy of Sangsoe, and is valuable as a folk art that shows its artistic and systematic composition.

    Jindo Sopo Girl County Nongak Preservation Society is a community organization that has been handed down from Sopo-ri, and its performance records have been confirmed since 1922. It was established as a Sopo Girl County Nongak Band in 1964 and has been taught through various activities such as the Namdo Cultural Festival and the Yeongdeungpo Festival.

    Sangsoe's genealogy leads to "Park Hak-sam, Jeong Deok-gwan, Ko Yoo-kwon, Im Hwa-chun, Im Wol-pan, Kim Hong-guk, Kim Oh-hyun and Cho Yeol-hwan," while Cho Yeol-hwan started with Sogo, and has been in charge of Sangsoe since 1995.

    Seolbuk is leading to Kim Nae-sik, who was taught since he was 17 years old by Park Tae-ju, a master of Sulbuk in Jindo. For more than 50 years, it has been active as a Seolbuk of Sopo Girl's Nongak and has maintained the original form of drum dance until today.

    The Lunar New Year's holiday season has led to "Kim Heung-sik, Ju Dong-ki, Park Yong-ho, Park Bong-sun, Kim Hong-bae and Hongbok-dong." Nonggi does not raise an instrument at Gutpan, wears a sangmo on the head and holds a tricolor band in both hands.

    Hong Bok-dong is continuing today with the ability to produce traditional style "shaking sangmo" and a series of teasing entertainment programs.
  • 2006.12.27
    designated date
    The Jodo Anchor Bae Song is a folk song that fishermen from Jindo-gun's Jodo area have passed down while catching early in Chilsan Fish Market and Massador Field. It is a representative folk song on the west coast related to early fishing. Currently, fishing operations using anchor boats have disappeared and only songs remain, so it is necessary to preserve them as they are being taken into custody around the tides.

    Kim Yeon-ho started sailing anchor around the age of 15. I learned anchor boat songs from senior sailors while riding an anchor boat. Because of its good wood composition, it is said that it was done with the sound of the front. In anchor boats, older sailors usually speak behind their backs, and tend to leave the young sailors to the front, so Kim Yeon-ho is said to have been in charge of the front voice since he was young. In 1958, when the anchor boat disappeared, the boat began to board the boat at the end of the anchor boat in Donggu-ri's rental room. Kim Yeon-ho has been on an anchor boat since childhood, and he has abundant knowledge of the anchor boat's fishing routes thanks to his life as a sailor with older sailors. And he has a good throat, so he is said to be good at making the sound of an anchor boat song.

    Jo Oh-hwan is known for his enthusiastic learning of Jindo's folk art and his teaching activities. Although he has never been on an anchor boat and has not been engaged in fishing in person, he is recognized as having an excellent knowledge of the anchor boat because he has extensive experience in investigating while meeting anchor boat song holders. Cho organized the Jindo Anchor Bae Song Preservation Society a long time ago and has been working on the activities of the Anchor Bae Song. During a long period of time, Jo also visited several islands to investigate the anchor boat songs and published a booklet titled "Jindo Anchor Bae Song" (Jindo Cultural Center, 2004).
  • 2006.12.27
    designated date
    Muan Sangdongdeul Song is one of the wild songs that represent the Yeongsangang River basin, which is sung during village collaboration such as mochi, rice planting, rice paddies, and pungjang.

    Muan Sangdong's wild song is a song that is passed down in the Yeongsangang River basin 'Gansori Kwon'. As a wild song representing the Yeongsangang River basin, the systematic composition stands out.

    The composition of mochi-sori-sori-sori-sori-sori-sori-모sound<잦)sound--논sori상-논sori긴-<sori--<sori--<sori--긴sori--풍sori 보여준다-풍sori 보여준다 shows systematic perfection.

    Among these songs, "Mu Sam Sori" and "Gansori" especially show the characteristics of the long and well-formed wild songs in the Yeongsangang River basin. Sangdong's wild song contains the dynamic of a long, powerful, and strong male labor song.

    The Muan Sang-dong Song Preservation Society is a community organization that teaches wild songs in Sangdong Village, and has been performing various performances, including winning the 28th Namdo Cultural Festival's Best Award for Best Performance (2001) and the 43rd Korean Folk Arts Festival's Achievement Award (2002).

    Since childhood, Ko has learned wild songs naturally in the process of working with local adults in the fields. In particular, I learned from what Ko Jae-sik and Ko Jong-seok did. At that time, adults said, "Send to the battlefield," so they sent rice paddies from other rice paddies to sing songs, which naturally led to the development of the singer's ability.

    Like a farmer who has worked in the fields all his life, Ko Yun-seok is well aware of the agricultural culture behind the wild songs. And it is evaluated that it has good wood composition and strength, so it sings the sound of the front properly.
  • 1989.12.28
    designated date
    Jeongak refers to music played in a court, government office, or a windmill where local windmills gathered to enjoy music.

    Daepungryu means a performance of wind instruments focused on appreciation for fun, and it refers to music centered on wind instruments such as incense flute and Jeongak daegeum for court music.

    The basic pungmul is composed of Hyangpiri 2, Daegeum, Haegeum, Janggu, and Buk. The main musical pieces include eight songs including Yeongyeongsan, Jungyeongsan, Seyeongsan, Seyeongsan, Garaktori, Samhyeondodry, Yeombuldodry, Taryeong, and Gunak, but Samhyeondodry, Yeombuldodry, and Taryeong are used as dance music.

    Although Daepungryu is valuable as traditional music with a strong and lively feel, such small-scale performances are now disappearing because music is produced on a wide stage. Jin Cheol-ho, the art holder, has learned from the late Kim Jung-sik about the economy of Seoul and the traditional Korean music of Incheon, which is different from the economy of Incheon.
  • 2016.12.28
    designated date
    The Bottom Sailboat Shipyard was designated as Busan Intangible Cultural Property No. 25 on December 28, 2016, and refers to the craftsman who makes the Bottom Sailboat, a traditional boat of our region.

    Kim Chang-myeong, the owner of the lower sailboat shipyard, has been working as a family business for four generations since his great-grandfather's birth, and has built more than 100 wooden ships including Hwangpo sailboat, ferry boat, and Sogu engine boats near the mouth of the Nakdonggang River.

    Hwangpo Sailboat by Kim Chang-myung is one of the symbols of the history of the Nakdonggang River, and it has important meanings in terms of the linearity of traditional ships and the development of manufacturing techniques, wooden boat-making tools, and understanding of the life culture downstream of the Nakdonggang River.

    The lower sailboat, which is a Hwangpo sailboat at the bottom, is 25 to 35 long (750 to 1,0050 cm), 5.5 to 7 wide (165 to 210 cm), and 2.5 to 3.5 deep (75 to 105 cm) since the end of the Han Dynasty. Another large sailboat remains, and waterways near Samrangjin and other waterways. Among them, the large sailboat that traveled to and from the upper reaches of the Nakdonggang River almost disappeared in 1970 with the opening of the Gyeongbu Expressway and the construction of bridges to cross the river. The sailboat near the mouth of the Nakdonggang River disappeared in the mid-1980s when the composite resin (FRP) line was supplied and the estuary bank was constructed. Recently, local governments have maintained their reputation as a sailboat occasionally manufactured for tourism, so it is necessary to designate the lower sailboat shipyard as a cultural asset to preserve it.
  • 2015.12.28
    designated date
    An Si-seong, a Onggi master who is working hard to make Onggi in Buggeori, Baeksan-myeon, Gimje, was taught the traditional way of working and the spirit of Onggi craftsman by Byeon Dong-soon, who was famous for Onggi Village in Buggeori in 1992.

    He has been the only preserved onggi kiln and workshop in Korea for more than 20 years, contributing to the designation of the site as a national registered cultural property. He has continued to develop products necessary for real life while reproducing the traditional production methods inherited from the Gimje onggi street.

    Also, as a product of the Confucian social status system, Onggijang is a place where the villagers' negative perception of Onggi-ma is held and gradually contributed to the creation of a harmonious atmosphere with the villagers.
  • 1989.12.29
    designated date
    As a folk liquor handed down to Gongju, it is also called Sinseonju, and is a high-quality alcoholic beverage with unique color and aroma. It is a liquor made by mixing glutinous rice, flour, azalea flowers, and autumn yellow flower petals, omija, and pine needles with traditional techniques and filtered out into a window paper after 100 days. Fermentation and ripening for a long time at low temperatures are excellent in flavor and flavor, and the aftertaste is clean.

    Gyeryong Baekilju was served to the royal family during the Joseon Dynasty, and is now passed down by Ji Bok-nam, a skilled craftsman.
  • 1984.12.29
    designated date
    Andong Notdari Bapgi is a folk game held only by women on the fifteenth day of the first lunar month in Andong, sometimes called 'Notdari Nori' or 'Kiibapgi'. As for the play, it is said that it originated from the fact that women in the village bent their backs and built bridges when King Gongmin (r. 1351-1374) of the Goryeo Dynasty took princesses to Andong to escape the Red Turban War and crossed the stream.

    Although the brass leg bapgi is divided into teams from east to west, it is generally played out of the way. At the very beginning, grandmothers in their 5s and 60s, called founding, stand, followed by wives in their 30s because of their elders.

    After a long time, dozens of women, who were playing the role of brass legs, bent down and held the front man's waist with their hands, and their heads were placed on the left side of the front man's buttocks, which looked like fish stitched together. When the princess steps on the bridge, assisted by two maids, the people below bend back to the front of the procession and continue to move forward.

    Andong Notdari Bapgi is a large-scale folk game in which all women gather together to sing and enjoy, and unlike other folk games, it only leads to play and does not compete.
  • 1989.12.29
    designated date
    Jangseungje is a folk belief that has been handed down since the Baekje Dynasty. On the fifteenth day of the first lunar month, Jangseungje is a production ritual to pray for the well-being and prosperity of the village by combining male and female Jangseung.

    Jangseungje, which was started as a result of the fact that the terrain of Tancheon was facing Seongribong Peak and the sound chamber, was established as a folk game and folk game for 400 years.

    The Tancheon jangseungje started with Nongak on the 7th day of the first lunar month, and the villagers are prohibited from cheating until the 15th of this year. The valley of the village is divided into grooms in the east and brides in the west. On the fifteenth of lunar January, the village begins with a gisebae in the middle of the village.

    While playing around the farming tools, when the bride makes four bows in front of the priest and the bride makes two bows, they tie silk in the groom's village. When it gets dark, the wedding ceremony of Jangseung is held at Donggu Bridge in time for Nongak, and the bride and groom are tied together with colorful bejazzi and separated.

    When the Hapgung ritual is over and the residents go back to their villages, they shoot three rounds of blisters in the sense of chasing diseases and bad luck, and in the eastern village, they run ssireum and in the western village, they pick a general, and gather again to play all night long.

    The Tancheon Jangseung Festival in Gongju expresses the Hapgung Palace of Jangseung and strengthens the solidarity of the village, which is characterized by a combination of religious consciousness and folk games. Park Young-hyuk from Tancheon is currently being passed down.
  • 1989.12.29
    designated date
    Cheongyang Donghwa Festival is a traditional folk festival held at the beginning of the year ahead of the beginning of the year, and has been handed down from nearby villages around Chilgapsan Mountain for about 400 years. It is presumed that the origin came from the use of fire to fight against the Japanese during the Japanese Invasion of Korea in 1592.

    Every year on the evening of the 14th day of the first lunar month, villagers carefully bathe themselves, go to the mountains, cut down a bundle of trees, and set up a fairy tale stand. When the moon rises, a ritual is held to the village god to pray for the peace and good harvest of the village, and all unclean things are burned to remove bad luck. After the memorial service, the residents mingle together to share prepared food and drinks, and there are still traditional songs that are sung while playing jigamagi and shiganggi.

    Cheongyang Donghwaje is a unique ritual ceremony that is not found in other regions, and all residents are united to burn Donghwadae and to remove all unclean things with the spirit of fire.
  • 1998.12.29
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    Chunpo refers to cloth woven using silk and ramie cloth.

    The springtime of Cheongyang's Chunpo Japgi dates back to the late Joseon Dynasty, and from around 1940, Cheongyang's Chunpo Market was famous nationwide. Among the Cheongyang area, Ungok area was known to specialize in making spring rolls from house to house.

    Chunpo's method of making silkworms is to make silkworms with silkworms and ramie fabrics by hanging them on a loom, putting a dotomari (a frame for weaving a loom) on the loom and hanging a silk thread (a thick thread for walking up the loom thread one by one).

    Baek Soon-ki, a holder of the Chunpo weaving function, received the skills from his mother-in-law, Yang Yang-seok, the first holder of the function, and is now continuing the tradition of his daughter-in-law Kim Hee-soon and Chunpo weaving, and both the production process and tools of Chunpo weaving are using the same old methods.
  • 1970.12.30
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    Royal court food of the Joseon Dynasty was served in the royal palaces of the Joseon Dynasty, which continued the tradition of the Goryeo Dynasty, representing traditional Korean food.

    Four daily meals were served to the King. Before 7:00 AM, chojobansang (a breakfast composed of porridge and dried side dishes) was served when the King did not have to have a medical decoction.

    Breakfast and dinner were served on three tables, wonban (the main table containing white rice, seaweed soup, stew, a steamed dish, kimchi and 12 side dishes: gyeotban (a side table containing rice with red bean, casserole, empty bowls, and a tea cup) and jeongolsang (a side table containing jeongol [casserole], meat, sesame oil, egg, and vegetables).

    Lunch or a meal with a visiting guest was served with noodles.

    Banquet meals were served on congratulatory occasions like the birthday of the King or Queen or the designation of the Crown Prince, or for greeting a foreign royal envoy.

    During the Joseon Period, the main meals served at the Royal Palace were porridge, starch porridge, noodles and dumplings, in addition to cooked rice. Side dishes served were broth, a steamed dish, steamed vegetables, casserole, stir-fries, a grilled dish, meat skewers, pan-fries, boiled meat slices, boiled and fresh vegetables, mustard-seasoned vegetable, gujeolpan (a platter of nine delicacies), braised abalones, braised mussels, jangnajorigae, beef jerky, jokpyeon (ox foot jelly), beef tartare, sliced raw fish, parboiled sliced fish, leaf wraps, parboiled fish with vegetables, kimchi, and soy sauce.

    An assortment of rice cakes, honeyed juice mixed with fruits as a punch and processed fruits were also served, chestnuts, jujubes, yullan (chestnut balls), joran (jujube balls), and gangnan (ginger balls).

    Literature concerning the Royal Palace cuisine of the Joseon Dynasty includes Gyeongguk daejeon (National Code), Joseon wangjo sillok (Annals of the Joseon Dynasty), Jinyeon uigwe (Royal Protocol of the Royal Banquets), Jinjak uigwe (Royal Protocol of the Conduct of Banquets), and Gungjung eumsik balgi (List of the Royal Cuisine).

    The Joseon Dynasty came to an end in 1910, and Korean cuisine culture has changed drastically with the passage of time. Royal Palace cuisine has been designated as important intangible cultural heritage in an effort to preserve the country’s cuisine culture tradition.
  • 1975.12.30
    designated date
    It is also known as hemp cloth, which is made in Andong area. Andong was also used as a royal product during the Joseon Dynasty due to its favorable climate and soil conditions and excellent technology for weaving.

    The production process is divided into eight courses from cultivation and harvesting to weaving. First of all, we grow it and harvest it in July, and the harvested hemp is soaked in water, peeled and dried. Dampen the dried hemp skin in water, cut it with hands and trawls, and slide it down to form strands (threads) and connect the hemp cloth with the newly made thread in the thread. Then, decide how many threads each width will fit, and then make a tarot to wind the yarn on a spinning wheel. After the process of grazing, pull the thread of the mold tight and squeeze the fabric out using a loom.

    Andongpo is a summer fabric with fine-grained, beautiful colors, and well-ventilated air, but as lifestyle changes, demand decreases, and it is protected by designating it as an intangible cultural asset. Kim Jeom-ho, Park Bong-geum, Woo Bok-in, and Kwon Yeon-eun were designated as functional holders, and as of 2019, Woo Bok-in and Kwon Yeon-eun are actively carrying out transmission activities.
  • 1980.12.30
    designated date
    Nongyo is a kind of folk song that is called individually or collectively. They are sung while farming in the farming area, or on their way home after farming, or by making farm equipment such as hominids and sickles. Depending on the region, the type, the contents of the song, and the way to sing are different.

    Andong Jeojeon-dong Nongyo, a traditional folk song of low-jeon-dong, was sung by low-jeon-dong farmers for a long time to relieve fatigue and increase efficiency of farming work. The contents and rhythms of agricultural songs are considered unique and unique.
  • 2016.12.30
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    Yongam-ri is a group folk game of Jeongwol Daeboreum to pray for a good harvest that has been passed down by the residents at a village level.

    Legend has it that during the Japanese Invasion of Korea in 1592, monks of Biamsa Temple lost the battle with the Japanese army and destroyed the temple and village, and began to build up their strength to protect the temple and the village.

    The story is also told based on the actual experiences of residents. Japanese colonial era In 1918, when the oppression was severe, bad things happened to the village one after another. Therefore, the villagers strongly protested against the Japanese oppression and have continued to this day without interruption.