The sound of a joke that is currently being handed down is a restoration of what was taken by Park Chun-jae (1883-1950) in the early 20th century. It is the current joke that the tradition of Korean jokes, which led to the arrest of Woo-hee from the 14th and 15th centuries and the arrest of the municipal government from the 18th to 19th centuries, has permeated Park Chun-jae's jokes and "Bal Tal" since the 1910s.

With these circumstances in mind, the current tradition of jadamsori is deeply historical. However, the tradition had been cut off for a while. The current jesting sound is based on the restoration of Baek Young-chun in 1998.

17 March 2008 baegyeongchun the holder, come served as recognition honor became a holder on April 17, 2014. 2017 on Nov. 16, choeyeongsuk been held recognition as an activity.

※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616).

Jo So-nyeo was born in Onyang, Chungcheongnam-do in 1944 and entered Pansori under renowned singer Park Cho-wol. After that, he learned pansori from Hong Jeong-taek, drew Simcheongga from Lee Il-ju, and learned Chunhyangga from Oh Jung-sook.

Chunhyangga is believed to have been created in the folktales and musical traditions scattered around North Jeolla Province, as shown by its geographical background in Namwon.

Jo So-nyeo's Chunhyangga is a continuation of Kim Yeon-soo's Chunhyangga, which was recreated by combining traditional Chunhyangga. Cho So-nyeo held a full vocal presentation of Simcheongga in 1985.

Born in 1944, Sung Joon-sook entered Pansori by learning the Sugungga from the master singer Im Bul-i. After that, I learned Chunhyangga and Simcheongga from Ju Gwang-deok, Yi Il-ju, and Oh Jeong-suk.

Sung Joon-sook succeeded Kim Yeon-soo's "Jeokbyeokga," which was a re-creation of the "Jeokbyeokga" of the Dongpyeonje, Yoo Seong-jun.

Since 1987, Heungbo has held a full singing presentation at Jeokbyeokga, Sugungga, and won the grand prize at the Pansori Festival in Namwon in 1985 and at the Pansori Master Singing Contest in 1986 and the Jeollabuk-do Cultural Award in 1991.

Nongak is the music played by farmers when they work with Du-re (an organization for community work) and refers to the music played by percussion instruments such as kkwa-ri, Jing-gu, Janggu, and drum.

Jeongeup Nongak is a nongak that has been handed down from village to village and has improved its artistic level as it is combined with the outstanding entertainment of the hereditary dance group. In addition, in the 1920s, the local folk religion, Bocheongyo, adopted nongak as religious music, bringing together and integrating outstanding nongak performers, once again improving its artistic level. Since then, Jeongeup Nongak has had a great influence on Nongak not only in North Jeolla Province but also throughout the country.

Currently, Jeongeup Nongak is recognized as a holder of entertainment by Yoo Ji-hwa and Kim Jong-soo.

Nongak is the music played by farmers when they work with Du-re (an organization for community work) and refers to the music played by farmers playing percussion instruments such as kkwa-ri, Jing-gu, Jang-gu, and drums.

Gimje Nongak is a type of Honam Udo Nongak that is distributed throughout Gimje. Nongak was handed down in the form of Daedonggut from early on, but it was developed into a more specialized group of entertainers. It is characterized by the use of iron and janggu as the main instrument in the composition of the Nongak band, the use of large drums, and the development of duregut in the plains area.

Currently, Park Pan-yeol and one other person in Gimje Nongak are recognized as the entertainment holders.

The roots of Jeonbuk dance are mainly based on Kibang Dance, and so is Honam Salpuri Dance. In particular, Choi Jeong-cheol's Salpuri dance (tentative name: Choi Sun) is a dance that transformed the towel dance learned from his teacher into a stage dance for a long time. His dance is deeply rooted in the emotions of Han, and his high self-control, along with the beauty of making, solving, and freezing, illustrates the characteristics of dance.

Choi Jeong-cheol started dancing when he was 10 years old in 1945, entered the Kim Mi-hwa Dance Research Institute in 1946, held a dance presentation for the first time at the Jeonju Provincial Theater in 1960, opened the best dance institute in 1961, and was designated as the holder of the Dojeong Intangible Cultural Property Honam Salpul Dance in 1996.

Currently, the school is dedicated to training its students for dance transfer through its lectures at various universities and colleges, and it is firmly establishing its position as a renowned dancer, <span class='xml2' onmouseover='up2 (1535)' onmouseout='dn2('dn2(')명명명명명명명span>.

Heungboga, Heungbuga, Baktaryeong, and Heungboutaryeong are among the five pansori madangs.

It is based on Heungbujeon's contents and was modified by Dongri Shin Jaehyo.

It is characterized by being more humorous than other pansori.

12japga is sometimes called long japga or jjitchang.

A genre that occurred in the 19th century and was made and called among the singers of the Four Seasons.

Historically, it was sung by craftsmen, merchants, and gisaengs at the end of the Joseon Dynasty, and was widely distributed by the Sagye Axis (now known as male singers living in areas ranging from Seoul Station to Malli-dong Pass and Cheongpa-dong).

The first 12 magazines were divided into eight magazines and four pieces of music: Yushan, Jeokbyeokga, Jebibi, Sochunhyangga, Seonyu, Hyungjanga, Pyeongyangga, and so on. Japjagga is composed of four pieces: Dalgeori, Tenjanga, Euncha, Bangmulga. It is believed to be the influence of the 12 lyrics that put them together as 12 magazines. The current 12 jagga is a heritageist, Jeokbyeokga, Jebi, housekeeper, Sochunhyangga, Seonyu, Hyungjanga, Pyeongyangga, Dalgeori, Sipjanga, Gupga, Bangmulga.

People in Bukcheong, Hamgyeongnam-do (in North Korea) engaged in a folk play, wearing lion masks on the night of the full moon of January 15 on the lunar calendar thinking that a lion, a powerful animal, could drive away evil spirits for them. Lion-masked people from neighboring villages gathered together and competed with one another. Since the team from Toseong-ri, Cheonghae-myeon, Bukcheong-gun did better than the others, the play gradually disappeared in the other villages. The mask play had come to secure its rightful place among Koreans since the Three Kingdoms Period. Those from the North continued to play it, mostly in Seoul.

The mask play was started with young people carrying torches on the night of January 14 and was continued until the daybreak of the following morning. On January 16, they would pay visits to the houses of well-to-do people as prearranged. Upon entering the property, they would go around the courtyard in a line and start dancing. Then, a lion-masked person would join them. The “lion” would go into the inner room and the kitchen and make a gesture of eating someone alive. Then, the lion would return to the courtyard and engage in a lively dance. The lion would make a big bow to the deities kept in the house as requested by the owner of the house. When the lion would pretend to fall down exhausted, people would call an eminent monk to energize it by reciting a phrase of Buddhist scripture or have an herbal doctor apply acupuncture. Upon regaining strength, the lion would dance again with all the others. Participants included those acting as yangban (noblemen), a freakishly tall person, a humpback, a petty local government official, a dancing boy, a dancing woman, a monk, an herbal doctor, a scholar, etc. The dancing boy, the dancing woman, the monk, the herbal doctor, and the scholar appeared without wearing a mask. The musical instruments used were tungso (six-holed vertical bamboo flute), buk (drum), jing (large gongs), and janggo (hourglass-shaped drum). A mask dance performed in Bukcheong often uses tungso as a main instrument while samhyeon yukgak (three strings and six wind instruments) is used in Gyeonggi-do and kkwaenggwari (small gong) in Gyeongsang-do. The owners of the house would have their children ride on the back of the lion based on the belief that it would make them live longer. Money or grains donated by the houses visited by the troupe were used as scholarship fund for children from needy families and to subsidize expenses for senior citizen associations and cover the expenses for the lion play.

Bukcheong Saja Noreum is focused on merrymaking, featuring movements more powerful than other lion dances.

Mungyeong Mojeon Deul means labor, ritual, and entertainment that have been passed down in Mojeon-dong, Mungyeong. Starting with the sound of scrotum, the sound of woodpecking, and the sound of planting mother's seedlings are composed of 10 different fields. It is preserved by the Mojeon Deul Sori Preservation Society, which was founded in 2010.

The Mojeon Deul Sori Preservation Society was founded by &#39;Mojeon Jungsingi Nongak Band&#39;, which has been played since 1900 when poor farmers gathered in the area, but has been officially formed in the 1940s and continues to this day. Japanese colonial era's Nongak Band was passed down through the three great somersaults called Yangsubong and is currently being passed down to four out of five singers.

In terms of music, melody consists mostly of the Manari Tori in Gyeongsang-do, but it has unique regional characteristics as it has unique sounds in Mungyeong, which are different from those of neighboring Sangju and Yecheon areas and different from those of Gangwon-do. In addition, the unique thinking of the local people of Mungyeong, who sublimate the bier into a daily routine of work and play beyond life and death, can also be called the unique locality of the sound.

A millstone rolling song refers to a folk song sung by villagers as they roll into the village after taking in the upper part of the lotus bud (rolling millstone) and aldol (floor stone) of Jeju Island. Looking at the condensed milk, rolling millstones required a great deal of strength, and because many people were mobilized, they were called to boost their united strength.

This folk song is in the form of a senior chorus in which all the workers are "carried out" in unison according to the sound of a person's line, and most of the lyrics are about the actual state of their work. As the rhythm of the short-length type appears frequently, the speed is generally slow, and there are many rhythmic changes, the melody decoration is also frequent.

The mill-rolling song is one of the most extinct transport labor songs of today, and Kang Won-ho, who lives in Deoksu-ri, Namjeju-gun, continues the tradition.

Anchovy hoori is a folk song sung by many people in the coastal village of Jeju Island, and is also called Melhurim Sori, which is the Jeju Island of anchovies. The anchovy hoisting was performed by villagers to the sandy shore after the anchovy swarming with nets in the distant sea, so they sang to boost their united strength.

This folk song is sung by a person's seonsor, and the people who pull the net sing the chorus according to their movements. The structure of the music is composed of two syllable sounds and two syllables. The melody of the melody and the chorus are different, and are called the late Gutgeori rhythm or Jungjungmori rhythm. Since the rhythm is stable and the stress treatment is relatively fixed according to the mortar structure, it develops almost invariably by repeating the same musical instrument. The sound is composed of Do, Le, Mi, and Solo, and the sound is finished with Le, which gives a strong impression.

Anchovy-hoori is a fishing labor song that is closely related to the movement of pulling the net when the anchovy is being hit, but it has been separated from the work since 1960 when the anchovy-hopper disappeared.Only the victor remains.

The sound of Dalseong Habindeulsri is inherited in Daepyeong-ri, Habin-myeon, Dalseong-gun. The sound of the fields has long been passed down by farmers and laborers, helping to relieve their hardships and increase their efficiency. The agricultural labor song, which was sung in the days when rice was planted and lavered with rice, gradually declined due to the change in farming methods, but the sound of the fields, which had been handed down for a long time, continued to be sung during play and feasts.

The sound of Dalseong Habindeulsori is composed of 10 songs, including the sound of mochi. The sound, which shows the realism and locality as a functional song, retains the melody of the Manarijo in the Yeongnam region.

The Pansori classical music was born after the mid-Joseon period when Pansori was settled, and was initially considered only the accompaniment of Pansori, which was not properly evaluated.However, as pansori developed with various characteristics in the late Joseon Dynasty, the ancient law also developed rapidly in terms of its skills and characteristics, with professional masters appearing.

Yangyang's passive Golsangyeo-sori has long been handed down from six villages, including Ipam-ri and Sangwolcheon-ri, which were formed around Hwajangcheon Stream in Hyeonnam-myeon, Yangyang-gun.

In addition to the well-preserved rhythms and editorials, the epithelium has been organized so far to observe funeral procedures, and various sounds such as "Oksanga, Hoesimgok" have been preserved and passed down.