The current Seo-gu area of Incheon, which passed through the Three Kingdoms and the Goryeo Period and reached the Joseon Dynasty, is recorded as Seogot-myeon, the 13th year of King Jeongjo's reign (1789).

Since then, the name of the administrative district has been changed to Seogot, and it has continued its long history and preserved its precious agricultural culture. The exact date is unknown, but the development of agricultural culture in the western part of Incheon can be inferred from the Joseon Dynasty or earlier.

"Seogot Deul Song" is a song that farmers in Seogot, Incheon used to sing for planting and gimaegi from a long time ago. The sound of mochi and rice planting is soft with the sound of a diagonal.

Maggie's sound is divided into a bee, two bees, and three bees, and consists of a short rhythm with a cheerful rhythm that empowers farmers and a long chorus.

In traditional society, nongak has three main ways of existence. First, nongak related to rituals such as dangsangut or yard treading, and second, nongak related to labor and play, such as duregut played in Gimmaegi with durekun, and third, pangut related nongak.

The current "Gabbi-gocha Nongak" is a pangut-style nongak related to play, and the main theme of this song is Nongsa-gut Nori, which reproduces farming work as a play.

These farming rituals are found in parts of Gyeongsangbuk-do and Gangwon-do, and are largely characterized by the preservation of similar nongak in Ganghwa, which is far from the region.

As one of the most popular songs from the late Joseon Dynasty to the early 20th century, it is said to be a song of professional entertainers, such as gisaeng, Sadangpae, and singers, to sing long editorials in technical musical terms, and is used as a concept that distinguishes it from folk songs, which are simple songs of non-professionals.

Whimori japga is a japga, which means driving fast, and is sung standing up. The editorial content of the Janghyeong Sijo is divided into three parts, and it is composed of humorous and interesting speech skills, and although there are many similarities with the private Sijo, it is distinguished between the rhythm and the singing style.

When the singers sang, they often sang a long japga at first, followed by a chorus, and then a whistle japga at the end.

The current Hwimori japga includes Gombo Taryeong, Sanmae Japa, Manhakcheonbong, Yuk Chilwol, Cloudy Day, Hanjan Buira, Byeongjeong Taryeong, Sungum Taryeong, Gisaeng Taryeong, Rock Taryeong, Bidan Taryeong, and Maengkong Taryeong.

Nongyo is a song that is sung to forget fatigue and improve efficiency while working on rice paddies and fields, also known as wild songs or farming sounds. Singing individually or collectively as one of the folk songs, the song may vary depending on the region.

Yecheon Gongcheo Nongyo was a labor song that was widely passed down around the Nakdonggang River coast. It was a remote inland village, so it was a pure folk song sung only in this village without mixing with the influx of neighboring cultures.

The contents are composed of rice planting songs, non-maggi sounds, threshing sounds, geolchae sounds, and ching chingi (Gaeji Na Ching-ching is composed of rice seedlings, rice paddies, threshing sounds, threshing sounds, etc. The song "Mosimgi" is sung by planting rice seedlings, while the sound of rice paddies is tied to rice paddies, and the threshing sound is a song sung by Tsing Chingi as she comes out of the field after rice paddies. This folk song is said to be the most primitive form.

The Yecheon Gongcheo Nongyo has been handed down with a local color and contains the sorrows and joys of farmers. Hwang Ki-seok, the art holder who lives in Pungyang-myeon, Yecheon-gun, continues his career.

The sound of bier Didylbanga Liquid Membrane was a method of "civil belief" to prevent diseases when infectious diseases were prevalent and human lives were lost during the dynasty when medical techniques were not developed. It may be futile for modern people with advanced medical skills, but our ancestors believed that this could prevent and cure diseases.



The ritual of folk belief was accompanied by "Sound," which was referred to as "Geochang Sangyeo Didilbanga Liquid Sound" or "Geochang Didilbanga Liquid Sound."

The sound of Gwangyang Jinwol gizzard is a labor song that has been handed down around Gwangyang Bay, and is an intangible folk heritage that shows the diversity of life that Gwangyang Bay people have lived in the ecological environment at the mouth of the Seomjingang River and the southern coast.

It is said to be in the form of a performance, and it consists of the sound of rowing, netting, net raising, phlegm, late sound, and gizzard shirking, and Nanjanggut. It features the unique fishing and cultural characteristics of Gwangyang Bay, which is associated with the representative species of fish on the southern coast.

Yaryu is a custom of Ogwangdae (mask dance drama) that was first performed in the inland areas of Gyeongsangnam-do but spread to Suyeong, Dongnae, and Busanjin. Yaryu literally means playing in an open field. This mask play was performed by non-professionals like villagers. Dongnae Yaryu was performed on the evening of the full moon of January 15 on the lunar calendar, supposedly to pray for a good year for crops. Dongnae Yaryu was said to have been started about 100 years ago after its cousin performed in nearby Suyeong. Now performed as an entertainment, it is composed of four acts: leper dance, gag exchanged between a yangban (nobleman) and Malttugi (servant), Yeongno (therianthropic character)’s dance, and old couple’s dance. Members of the troupe march to the site of performance while playing music. The main subject of the performance is a satire about nobles. The masks are made of gourds. The chin part of the masks is made movable, moving upward and downward while its wearer delivers a gag. The play is performed to the accompaniment of percussion instruments, which play exorcist music. Malttugi’s dance and nobleman’s dance are the leading performances. Obangsin (Deities of the Five Directions)’s dance, satire about deprave monks, and lion dance -- which are usually included in Ogwangdae mask dance drama -- are not performed in Dongnae Yaryu.

Jeongak (literally “elegant orthodox music”) refers to music played at the Royal Palace, government offices, and local places where people of refined tastes gathered together. As one of the three bamboo instruments developed during the Silla Period (57 BC - 935 AD), i.e., daegeum (large-sized bamboo flute), junggeum (medium-sized bamboo flute), and sogeum (small-sized bamboo flute), Daegeum is the longest among the traditional transverse flutes of the country. It has the emboucher hole at the right end, a buzzing membrane made of inner skin of reed that gives it a special timber, and six holes. Since it makes a wider range of sound than other instruments, it is used as a leading solo instrument. Daegeum-played jeongak covers all kinds of formal ceremonial music, which are all ensembles. It is not known when they started to be played solo. The titles of the pieces of music played by daegeum include Cheongseong Jajinhanip, Pyeongjo Hoesang, and Jajinhanip. Melodies made by Daegeum Jeongak sound delicate but not light, soft but not feeble, and fragile but not shallow.

As a drum dance handed down in Tongyeong (Chungmu), Gyeongsangnam-do, it was performed by barmaids and boys. During the Japanese Invasion of Korea (1592-1598), Admiral Yi Sun-sin had this dance played to boost the morale of his troops or celebrate the victory of battles. Many dances performed in Tongyeong, a naval town, were called Seungjeonmu (Victory Dance). Only the Mugo (Drum Dance) was designated as important intangible cultural heritage under the name Seungjeonmu in 1968. Nine years later, Geommu (Sword Dance) was included in said designation. Looking at how a victory dance is performed, four dancing women in ceremonial dress with long white cuffs make movements, gathering in the direction of the drum placed at the center and then scattering in four directions with soft steps after beating the drum; thus creating a grand, joyous atmosphere. Samhyeon dodeuri (dodeuri rhythm music by three strings) and taryeong (Korean folk song) were used as accompaniment in music. The overall dance movements are simple and antiquated, carrying unique local characteristics. Dancers performing a sword dance wear white jacket, red skirt, black sleeveless coat, military official’s hat, red belt, and jacket with long, multicolor-striped undershirts while holding a sword in each hand. The tools used and dancers’ movements in Seungjeonmu are similar to the Mugo performed at the Royal Palace. The elegant dance movements, melodies of music, and overall exquisite arrangement make it a dance with high artistic and traditional value.

Sanjo refers to the playing of an instrument solo to the accompaniment of janggo (hourglass-shaped drum), moving from slow to fast rhythm, in four to six movements. Gayageum Sanjo is Korean instrumental folk music played solo with gayageum (twelve-stringed zither). Gayageum Byeongchang refers to the singing and playing of gayageum at the same time. All Sanjo start with slow rhythm and gradually changes to faster rhythm, making listeners feel tense and increasingly delighted. Gayamgeum Sanjo is made up of four to six rhythms: jinyangjo (slow), jungmori (moderate), jungjungmori (moderately fast), jajinmori (fast), and hwimori (fastest). Compared to other instrument-based Sanjo, Gayageum Sanjo masters could form diverse schools thanks to the unique characteristics of gayageum. A singer engaging in Gayageum Byeongchang sings a part of danga or pansori to the accompaniment of his/her own gayageum playing. Gayageum Byeongchang used to be sung by Gayageum Sanjo masters, but the current tendency is for the separation between players of Sanjo and Byeongchang. A song sung as Byeongchang creates its own atmosphere due to the unique melody of gayageum. The following are well-known parts of Gayageum Byeongchang: Jebinojeonggi (Route of the Swallow's Trip) of Pansori Heungboga (Song of Heungbo), Sarangga (Song of Love) of Chunhyangga (Song of Chunhyang), Gogocheonbyeon (Brightness of the Sunshine in the Sky) of Sugungga (Song of the Rabbit and the Turtle), and “Sim Cheong’s Father on His Way to Hwangseong” of Simcheongga (Song of Sim Cheong).

The wild song is a folk song sung during farming, and the wild song of Jangsan-do is a song sung by women in Jangsan-myeon, Sinan-gun.

Jangsan-do's wild song is a song that is exciting and exciting, even though it is a tough life for women and a song with deep sorrowful. Also, as it is an island, it is not mixed with other local folk songs, so it is native and has a feminine melody. The plot consists of a mochi-gi song sung by steaming rice paddies, a rice planting song sung by planting rice paddies, and a rice paddies song sung by rice paddies on their way back. It is not boring because it changes from late tunes to fast tunes such as Jungmori, Jungjungmori, and Jajinmori, and it is completely different from Jindo's wild songs and Namdo's labor songs on land.

Jangsando Deulsong is a folk song that contains the lives of the Korean people, and it is designated as an intangible cultural asset because it has unique rhythms and contents.

A folk song is a song that comes naturally among the people and is 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 preference of the region or callers, or spontaneously.

The fishing songs in Korea are divided into work songs sung while working in the sea and boat songs sung while rowing, and the anchovy song in Gageodo is a combination of these two types of folk songs. The contents include the sound of brass, the sound of netting, the sound of liquor rain, the sound of net raising, the sound of quick rowing, and the sound of windmills. The brass sound is a song sung when rowing on the way to catch anchovies, and the sound of an anchovy hat is a song that drives anchovies with a torch lit when anchovies are found. The sound of Sulbi is a song that is sung when the anchovies are scooped up with phlegm. The fast rowing sound is a song sung when the boat is full of anchovies as it raises its net and returns home.

This song is a combination of a boat song and a song sung when catching anchovies, forming a folk song, and has a singing style that is not found in other local folk songs. The melody is also called Sinawijo, so it has a deep correlation with Muak and will be valuable material to reveal the true nature of the folk songs of the South.

The charcoal work of Gwangnyeosan Mountain is a collection of the charcoal work of Aehwan, which was sung during the process of producing charcoal. Therefore, the sequence of development of the song shows the process of producing charcoal.

The period of producing charcoal is quite long. Therefore, the sound of charcoal work is mixed with songs of each genre. A ritual song was sung when performing a ritual, a play song when resting, and a labor song when working. Therefore, the song was sung individually when the participants worked together and individually when they were working together, and the most prominent characteristic of charcoal Ilsori is that the various styles of singing and various genres coexist together.

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.