Main growth refers to a craftsman with casting technology who melts iron into a mold to make the desired items. To precisely clone and restore artifacts, wax casting is used to create shapes using wax (beehives), which is a representative technique of bronze casting 2400 years ago.

Yi Wan-gyu, the owner of the main growth cripple, started his bronze casting job in the 1970s at the workshop of Oh Hae-ik, the master of metal craftsmanship. He has been working hard to produce various Buddhist items used in front of the Buddha, such as a candlesticks and incense burners, which belong to the realm of Buddhist art, and has become one of the best in related fields.

Meanwhile, he reenacted the Danusemungyeong (National Treasure No. 141), the Seven Wonders of Korea, by developing bronze techniques and studying traditional techniques, and after repeated research, he reproduced the non-wave-type bronze daggers (Joseon Sword) and Danusemung, followed by the trumpet-shaped motives, shield-shaped motives, and Ganduryeong. As a result, he won the Prime Minister's Award at the 32nd Korea Victory Crafts Competition in 2007.

Casting technology, which is a major technology of Korean metal craft, developed with Buddhist culture, is characterized by its elaborate detailed decoration and magnificent sound, and the traditional model casting technique is a wax casting technique. First, make a model of a species with wax and apply a certain thickness of castings made by mixing talc and clay on top of it, and then dry them in the shade. Then, the wax inside is melted by heat, and iron water is poured into an empty space that combines the appearance and the inner shape of the wax removed from which the wax has been removed. The body is divided into two parts, the upper and lower parts, and the lower parts are divided into eight parts.

There are four Yuduksang in the gyeondae and four in the Yuduksu. The oil slick, nipple, and bujeon, which act as a ring, are separately made and attached. It then makes molds by pouring plaster and produces outer and inner molds with castings.

The Korean bells have an elegant and stable appearance, with delicate and lively sculptures carved, and have a clear and subtle sound. Therefore, it is considered one of the most representative metal crafts in Korea and is considered to be superior to any other species in the world.

Chung Dong-hoo, the owner of the company, is the main growth engine that produces such Korean models with casting technology. When he was 18 years old, he learned to work under the late father-in-law of Shin Sang-moo, and after he became independent, he produced masterpieces of his name tags such as Bongeunsa Temple in Samseong-dong, Yongmunsa Temple in Yecheon, and Gwaneumsa Temple in Nonsan. One of the representative works is "The Bell of Peace," which hangs in Taegosa Temple in Los Angeles.

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.

The name "Homigeoli" comes from the fact that it was "washed and walked" for next year after wearing the last laver. It means that the farming season ends by hanging ho-mi on the back of the farming season. It is said that by the time the dried laver, which can measure farming, was made, the durepae gathered and performed ho-mi-gul only when it was judged that the farming was successful. Homigul was held around Baekjung in the 7th lunar month and was a kind of festival where farmers took a rest and played with the hope of a good harvest. These festivals can be found throughout the country, and were also called homissisi, kernels, caves, and servants' play, depending on the region.

Once the Homigirl was decided, villagers prepared for the feast by checking instruments and flags for play and preparing food. Before dawn on the day, men gathered together to play Gilgunak (Marching Pungmul) with flags at the forefront and hold Sangsanje in front of the party, and then women and women held a Daedongje. Sangsanje holds a wish for good farming in the year, while Daedongje holds a wish for the villagers to be healthy. After the Daedongje Festival, pungmul begins, and the neighboring village Durepae gather in the Dangmadang with carts containing alcohol. They play pungmul while receiving chi and sweeping chi, when the ho-mi-gall sounds are sung. Farming songs sung during the Gimmaegi process, such as Gansori, Saduyeo, Yangsan-do, Bangataryeong, Jajinbangataryeong, Nolnori, Jajinnori, Sangsaemya, Flapping, and Rotating, are sung. At dusk, neighboring Durepae go back and do housewarming and finish Homigirls.

The Goyang Songpo Homigirl is based on the Dure community, which was handed down to Bamgae Village in Daehwa-ri, Songpo-myeon, Goyang. After 1931, the victory was cut off, but it was restored again by singer Kim Hyun-kyu in the 1970s. In November 1984, the Songpo Homie Girl Preservation Society was formed, and now the Homie Girl is being reproduced by Jo Gyeong-hui, the president of conservation and assistant director of the school. At the fourth Gyeonggi-do Folk Arts Competition in 1985, he won the overall prize and the 12th prize in 1999.

Dure is an indispensable form of joint work in an agriCultural society. Only a person's hand had work your land, rice, rice, rice reaping most local people had to work with me at a time in the process. Although labor

united for, but itself was a village play, a festival.

Gimpo Tongjin Durenori is an event that focuses on the sound of farming in the old farmers' dure process that was handed down in the Tongjin area. Depending on the farming season, the song starts with a long melody and ends with a quick melody. The sound of gosa ddeokdam, mochi and gimaegi are called in Tongjin Durenori.

When Sangsoe's kkwaenggwari sounds, villagers begin to enter with a bucket bearing the name of the village that used to form Tongjin-myeon. After entering the flag, sowing rice seeds → paddy grilling → killing → rice planting → rice planting → eating fish → eating fish → laver fighting → cutting rice → chopping → building up islands.

In Gosa-gi, people share gosa-tteok in hopes of a good harvest, and in Mochi-gi, they sing mochi-gi songs to cheer them up. Sae-cham-muk-gi shows a combination of work and play, such as enjoying Sae-cham and enjoying entertainment. After a fish fight between rice paddies, it is expanded to a dure fight between villages. The team that catches the pheasant fence on the village flag first wins, and the winning team puts the pheasant fence back on the losing team's flag, leading to harmony.

Although the Duleges in the Tongjin area were cut off after the 1960s due to changes in farming environment, Yun Deok-hyeon won the Presidential Award at the 1997 National Folk Arts Competition for recreating the old tradition. Since then, the Tongjin Durenori Preservation Society was established to succeed the Gimpo Tongjin Durenori, and the Tongjin Dure Cultural Center was established in April 2008. After Yoon Deok-hyeon's death, Jo Moon-yeon was designated as the holder in November 2016. It is actively engaged in activities through an open event for Intangible Cultural assets in Gyeonggi Province, a presentation of the National Duret Sori Conference, a demonstration of inviting Intangible Cultural assets from each province, and a presentation of its own Gimpo Tongjin Durenori.

Pansori is a stage art consisting of a singer, a drummer, and a pair of spectators. The one who sings makes sounds, lines, and gestures, and the one who plays drums according to the tune of the one who makes the sound leads to an exciting atmosphere.

Pansori is divided into East Pyeonje in the northeastern part of Jeolla-do, West Pyeonje in the southwestern part of Jeolla-do, and middle and high schools in Gyeonggi-do and Chungcheong-do according to its regional characteristics and genealogy. Originally, it was twelve yards, but almost disappeared during the Japanese Colonial Period. Only five yards of Chunhyangga, Simcheongga, Heungboga, Sugungga, and Jeokbyeokga remain until now. The rhythm used in pansori has several rhythms, such as the slow rhythm Jinyang, the average speed Jungmori, the faster Jungjungmori, the faster Jajinmori, and the very fast Hwimori, which are written according to the tense and leisurely dramatic situations shown in the editorial.

Namdo Pansori is a pansori that suits our people well and belongs to Seopyeonje. Han Ae-soon, the current holder of Namdo Pansori entertainment, is said to be good at using the traditional features of Seopyeonje, which is light in vocalization, long in tail of sound, and elaborately woven.

Yugijang refers to a brassware making skill, or to an artisan with such a skill.

On the Korean Peninsula, brassware was first made during the Bronze Age. During the Silla Period (57 BC – AD 935), there was a government agency in charge of production of brassware. The skill continued to develop, and thin brassware with beautiful luster came to be made during the Goryeo Period (877 – 1394).

Then, there was a lull in development, but brassware enjoyed popularity again by the 18th Century. Anseong, Gyeonggi-do was known for the production of good-quality brassware items, and noble class people placed orders for custom-made brassware goods with producers there.

Brass may be any one of a broad range of copper alloys, usually with zinc as the main additive. Brassware displays a yellowish color with subdued luster. Cupronickel ware displays a white color.

There are three types of yugi (brassware), depending on the production technique used. To make bangjja yugi, ingots are first made with melted brass and then people strike them with hammers. Examples of articles made with this method are jing (large gong), kkwaenggwari (small gong), food bowls and wash basins. Jumul yugi (forged brassware) is made by using molds.

The term Anseong Machum was coined to refer to an object or item that was custom-made for a particular situation, as brassware made in Anseong satisfied specific needs of customers. Semi bangjja yugi refers to brassware made using both bangjja and forging methods. Yugijang is the country’s leading traditional metal artifact-making skill with wide practical applications.

The village ritual in Bucheon, Siheung, Ansan, Osan, Hwaseong, Suwon, Gwangju, and Anseong, which are located in the southern part of Gyeonggi-do, is called Gyeonggi-gut. This village ritual is performed by the hereditary succession of martial arts, which are called hwarangi or mountain, and women are called miji. The dance of Gyeonggi-do Danggut, which is centered on Hwarangipae or Sani-eul in southern Gyeonggi-do, means the dance that was performed at Gutpan in a broad sense, and in a narrow sense refers to the Gyeonggi-do Danggut Sinawi dance, which is an art of performance, leaving Gutpan. In addition, the accompaniment of the dance is called Gyeonggi-do Danggutsi Nawi Dance because it is so-called Gyeonggi-do Sinawi Dance, which is difficult for experts to understand, such as Seopchae, Banseolumumjangdan, Onigutgeori, Jinsojangdan, Olimchae, Sangjimachi, Garaejo, Valkudre, and Bujeongnoridan. Gyeonggi-do Danggut Sinawi Dance, which is stylized on stage against the backdrop of shamanistic tradition in Gyeonggi-do, includes "Boojeong Nori Dance," "Turberim Dance," "Jinchigi Dance," "Sneakchae Dance," "Olimchae Dance," "Jeseok Dance," and "Dosalpuri Dance," and Maeheon Kim Sook-ja, who is at the center of the dance.



Maeheon Kim Sook-ja (梅軒 19 19: 1926-1991) learned the dance music contained in shamanism from her father Kim Deok-soon, a native of Jaeincheong, Hwaseong, and the entire shamanism from her mother, Jung Gwi-seong. The characteristic element of Kim Sook-ja's Gyeonggi-do Danggut Sinawi Dance, a former hereditary dancer, is that she recreated it as a traditional dance by developing the dance of ritual dance that Hwareang and Moohyeo used to perform at Gyeonggi-do Danggut, which has been handed down in Gyeonggi-do Province. Therefore, Kim Sook-ja's dances were originally performed at Dodang Gutpan in Gyeonggi Province, but they are representative shamanistic dances that were staged and entertainmentized in the process of re-creation and transmission.

The Gyeonggi-do Danggut Sinawi Dance and Gyeonggi-do folk dance, which were passed down to Kim Sook-ja from Kim Deok-soon, father of Maeheon Kim Sook-ja ( 19 1926-1991), and his mother Jeong Gwi-seong, are now preserved through his disciple Lee Jung-hee, and are handed down to his disciple Hansumun.

The embalming machine refers to an organic material made by hammering a lump of alloy melted in fire, and is made by alloy of copper and tin with 78:22. Even if the ratio is 0.01 percent wrong, or if any zinc or other alloy is mixed, it explodes during the tapping process.

Bangja is mainly used to make percussion instruments such as gongs and kkwaenggwari, and it is used throughout tableware because it does not show any handprints and is not toxic even when touched by hands.

No matter how good a defense is, no one can produce it alone, and six people must form a team. One man catches the wind that puts air in the furnace, and the other man heats the iron back to the fire. One man grabs the heated iron with tongs, and three men take down the hammer one after another. Some fixed frames or aids are not used at all.

The owner, Kim Moon-ik, entered the workshop of Choi Doo-gun at the age of 12 and honed his skills for 13 years. Since then, he has worked for 17 years at a craft company run by Lee Bong-ju, an important Intangible Cultural asset designated by the state, and learned how to make two large brass bowls, a lead cleaner in Jeongju, North Pyongan Province.

Kim Mun-ik's technique is specialized in making instruments for pungmul. An appropriate amount of alloy is important for making the sound of musical instruments, and he uses 3kg of copper and 8.25kg of tin to increase the content of tin and mix a small amount of gold and silver.

Also, Kim Moon-ik excels in 'Crying', a meticulous process that makes the right sound come out well when making percussion instruments such as gongs.

Kim Moon-ik's work is well-known for its high quality, which is supported by the fact that Kim Deok-su's Samulnori troupe has used gongs and kkwaenggwari for a long time.

■ Icheon Turtle Play

Among our folk culture, there is a game that is distributed only in Gyeonggi-do and Chungcheong-do, so "turtle play" is that. This turtle play takes off the water fountain on Chuseok to form a turtle, and a person enters the village and performs Gilnori, Umulgut, Village Nori, Mungut, Terjugut, Jowanggut, Daecheonggut, and Madangnori in order.

It's a folk game.

Compared to other folk games, it is characterized by the fact that it is usually held during Chuseok, the number of materials used to make turtles, and the fact that it is distributed only in the central inland area. It is also a Daedongnori that promotes the harmony of the village in that the villagers attend the event, from the preparation process of the play to the actual play, as well as the ritualistic nature of the village to beat out the evil spirits of the entire village and families.

Icheon Turtle Nori is relatively well equipped with the play process and the form of objects compared to other turtle Nori in other regions, and the Icheon Turtle Nori Preservation Society provides a good survey, research, and preservation of turtle Nori. In particular, the 14th Icheon Turtle Play Festival, which was held in 2017, is dedicated to preserving the original form of the Icheon Turtle Play and protecting local folk games through the development of various contents. (Icheon Turtle Play Preservation Society http://cafe.daum.net/gg50)

■ Detailed description of Icheon Turtle Play

○ Gilnori

In a meaningful process to announce the start of the game and boost the excitement of the players, they pay their respects to the turtle before moving to the village.

○ Wellgut

Wellgut, called Samgut, is a ritual to manage springs used jointly in the village, and is a game to pray for the overflow of clear water.

○ Village play

In the vacant lot in the middle of the village, a living community space for the villagers, a playground is opened to drive out all the evils and pray for the safety and prosperity of the village.

○ Mungut

A gate is a passageway that connects the house and the outside. Mungut is a ritual to pray that all the blessings and goods enter the house through the gate.

○ Turjugut

Behind the house, there is Jangdokdae in Ulan, and most people have a terrace next to Jangdokdae, which is believed to have a sense of grandeur here. Turjugut is a ritual to prevent evil spirits from appearing and to pray for ophthalmology and peace.

○ Jowanggut

This game is played to prevent bad luck and to pray for the health of the family by serving the god of King Jowang with a ritual performed in the kitchen that oversees the diet.

○ Daecheonggut

It has long been believed that the house is protected by a large grotto called 'up' on the daecheong beam. "Up" is the most conscious play in the play process because it was believed to be a divine being that protects the house, gives the house a hallway and brings bad luck.

○ Madang nori

Madang Nori is the most exciting part of the play where people run and play freely, mingling with the joy of enjoying Hangawi in abundance after a year of farming and the relief that they wished good luck and prevented bad luck through turtle play.

Gat, also known as black ribs, was one of the official hats used by aristocrats during the Joseon Dynasty to reflect their status.

Ipnip was originally a practical tool for covering the sun, rain, and wind, but as the materials, forms, and production methods diversified, black ribs were made during the Joseon Dynasty through the initial phase of the Parangi.

The shape of a gat is composed of Daewoo (hat) and Yangtae (hat's rim), and the height and width of the gat were very popular in the times. The types of gat include mami-lip, low-morip, bamboo sarip, forrip, bamboo-lip, yin-yangrip, state and white lip.

The process of making a gat is largely divided into particle work, in which the yangtae, the gun hat, the yangtae and the gun hat are collected and matched. Yangtae is a round top of a gat that divides bamboo into thin pieces like hair and weaves them together on a round plate.

Yang Tae-jang, a master craftsman who made Yangtae during the early Joseon Dynasty, was made by two members of the Gyeongguk Daejeon Chamber of Commerce and Industry, and during the late Joseon Dynasty, he was not bound by the government office, but rather pursued private production in areas where horse guns and bamboo were produced.

The production process for the patterning is in order of bamboo screening and grooming, the duck process, the weaving of the pattern, and the arrangement of the pattern. Bamboo is a bamboo (sondae) produced in the southern part of the country, and it is stored by selecting the ones that are tough, light, and long and high in quality between joints, boiling the ashes are boiled and dried. The duck process is a process of making bamboo shoots as thin as silk. Depending on the purpose, it is placed in a brocade to adjust the scales to make a blade, shell, and pedestal.

After weaving the wings and the joe together, Yangtae puts the head (meaning 'Jeju dialect'), diagonally between the two, and puts the comb in a diagonal line, then finely trims it to complete the yangtae.

Yang Tae-jang Jang Jeong-soon learned from his childhood about the process of making Yangtae and Tanggun, techniques, and the selection and management of bamboo among the new days, which his mother Song Ok-su (Jeju Special Self-Governing Province Intangible Cultural Property No. 12) had been working as a family business. Afterward, he moved to Bangbae-dong, Seocho-gu, Seoul in 1986 and produced it by himself, but moved to Gwacheon in 1995 to continue his work.

Due to its excellent skills, high-quality work such as high-distribution and buttocks are produced with high-quality techniques.

Goyang Bier and Hoedaji sound refers to a funeral ritual song that is being passed down around the Kimnyeong Kim Clan 寧金 집 Jipseong Village in Daehwa-ri, Songpo-myeon, Goyang.

Kim Yu-bong (1725 years old) of Kimnyeong Kim Clan restored the tradition of the funeral of Kim Seong-gwon (1867), who was in charge of the construction of civil engineering and royal palaces.

At that time, the size of bier was three times larger than that of ordinary merchants, and the number of full-length biers reached about 250. The mourning procession reached 5 ri (2 km) and the food served to the mourners at the time was not enough to cover 12 bags of rice.

It was said to have been a large-scale custom.

When a portrait is made in Daehwa-ri, Songpo-myeon, the mourning rites bow to the deceased of the bier who leaves for Jangji-dong, and the bier people call out the sound of salt and hush. When you leave the house, you will hear the sound of a badger, and you will hear the sound of voluntary bier as you walk fast or climb up a hill. When you reach the burial site, you sing the long salt fire and then put down the bier. When Gwangjung 壙中中, a pit for the tomb where the dead are placed, is established, the long sound is sung while playing the dalgu sori, Yangsan-do, Bangataryeong, Nolnori, Jutdasori, Sangsasori, and flutter.

It is characterized by treading outside the middle of the mine when the moon is being burned in the Goyang area. This is believed to have been influenced by Joseon Dynasty royal tombs. There are many royal tombs in this area, and it is said to be a custom that originated from stepping outside the mine because it is impossible to step on the Nara.

Currently, Kim Woo-gyu, the chairman of the conservation committee, is trying to win the event through the Goyang Sangyeo Daji Sori Preservation Association. In 2010, Wiesbaden, Germany, Carnival carried out, and the show, invited to the Japanese military sexual slavery after 2012.

The victims' marriage is held every year.

Buncheong celadon is short for "Bunjanghoe celadon," which is characterized by applying the surface of the bowl with white clay and then using various techniques. It was produced in the early Joseon Dynasty with the origin of inlaid celadon at the end of the Goryeo Dynasty. In particular, in the reign of King Sejong, the painting division was at its peak and was donated as a government official, and was used in the royal family and government offices, and various decorative techniques were featured in each region.

However, as the production of white porcelain began in earnest in Gwangju, Gyeonggi-do, in the late 15th century, Buncheong ware gradually declined, and was rarely produced from the late 16th century.

The decorating technique used in buncheong ware is greatly inlaid.printing, foresight, and gourd paperIron, gwiyal, and dumbung are typical, showing characteristics according to timing and region. Up until the early 15th century, inlaid buncheong, which inherited the techniques and characteristics of inlaid celadon at the end of the Goryeo Dynasty, was mainly made, but in the mid-15th century, inlaid buncheong, which was painted with a seal applied to the entire surface of the inlaid painting technique from the end of the Goryeo Dynasty, inlaid with white clay, was very popular.

In the late 15th century, the incineration technique, which deeply engraved patterns on the surface of white clay, and the stripping technique, which scratched the background after pre-disting the patterns on the surface of the white clay, were produced in Jeolla-do, and the iron painting technique, which was expressed in a brush with iron oxide pigment, were produced in Chungcheong-do, respectively. Gwiyal and Dumbung techniques, which were applied with white clay brush or dipped in white clay to make up the entire surface, showed the tendency of white porcelain and were mainly produced from the late 15th to the early 16th century.

Park Sang-jin, a swindler of Gyeonggi-do Intangible Cultural Property Buncheongsagi, entered Ji Soon-taek's "Goryeo Doyo" (currently Ji Soon Taek-yo) in 1971 and mastered the art of Buncheongsagi for about 13 years in Park Bu-won's "Do Won-yo" from 1974. In 1987, Gaecheonyo was established independently and continued to produce buncheong ware. In 2011, it was designated as Gyeonggi-do Intangible Cultural Property Buncheonggijang. Along with a variety of works based on the techniques and characteristics of traditional buncheong ware, the company is also trying to work on modern-day buncheong ware, which boldly transformed the branching method.

The record shows that the Geommu (sword dance), which was in the form of a performance, was based on the legend of Hwang Chang-rang of Silla during the Three Kingdoms Period. It was performed with Cheoyongmu until the early Joseon Dynasty, in the form of a masked child dancing. Mask since King Sukjong of Joseon

Here comes the black lady. Geommu here was established as the royal palace during the reign of King Jeongjo, and the size of the royal court was increased to suit the characteristics of the royal court. The costumes became fancy and the number of participants increased. After establishing itself as a performance event of various local traditions in the late Joseon Dynasty, the Korean traditional dance became more artistic and refined, and was spread throughout the country by the gisaengs of each local school who participated in the royal court banquet. Currently, the Gyeonggi Inspection Office, Jinju Geommu, Tongyeong Geommu, Honam Geommu, Palace Geommu, Haeju Geommu, and Pyongyang Geommu are reported.

The gyobang sword dance, which was spread by the gisaengs, was widely performed at private banquets. Gyobang Geommu consists of various types of dance, including Hansam Dance, Seon Hand Dance, Sitting Hand Dance, Sitting Knife Dance, Sun Knife Dance, and Yeonpungdae, and includes dance moves of Buddhist dance, which are folk dances of each region, such as Buddhist dance, salpuri, mouth dance, and mask dance. It is especially important in that it is passed down as a group dance performed by many people and has less variation than the hall dance, thus retaining the original dance moves of Korean traditional dance.

The first half of the sword dance performance is static, and the second half of the dance with a knife is dynamically combined with the dual elements of yin and yang. When it comes to space use, it has both ground propensity and dynamism that leaps upward, and actively utilizes space through various large changes.

The characteristic of the sword dance of Gyeonggi sword dance is that there are many side-spinning men who spread their arms horizontally and turn their swords, and the movements that seem to compete with each other are more diverse than royal sword dance. In addition, yum and yangnim are unique sword dance sons-in-law of Gyeonggi Geommu.

Han Seong-jun (1875-1941), who had a systematic framework for the inspection of Gyeonggi Province, was passed down to Kang Seon-yeong (Important Intangible Cultural Heritage No. 92), the owner of Taepyeongmu, and was succeeded by his disciple Kim Geun-hee. Currently, Kim Geun-hee has been designated as the holder of the Gyeonggi Inspection and Quarantine Service, leading the Gyeonggi Inspection and Preservation Society and conducting performances and transmission activities.

Sijo is known to have originated in the mid-Goryeo Dynasty and is a popular style of poetry during the Joseon Dynasty.Also known as 'timely song', 'timely unit song' and 'unit song'.

Shijochang became a regional feature when the tune was created in the sijo, influenced by the orchestral music such as Geomungo, Gayageum, Daegeum, Danso, and Haegeum.

Wanje of Jeolla-do and Yeongje of Gyeongsang-do, the economic and Cultural festival of Seoul and Gyeonggi-do. It was divided into Naepoje in Chungcheong-do.

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