Nongbauksi is a ritual for rain that is held in various villages including Jewon-myeon as well as nearby villages, focusing on Eojae Village in Burimyeon. If rice planting is not done because it is not raining until the summer solstice passes, the villagers are very worried and have a rain ritual to solve the drought.

If natural disasters are not solved by human power, the ritual of rain is held as part of the community's collective consciousness to solve them through transcendent beings or various sorcery. The rain ritual is a way of living in a community where everyone in the village tries to overcome the difficulties of reality by solving the psychological conflicts that have accumulated because it does not rain and by preventing or reducing the impact of broken living rhythms.

The rain system is generally attended by wives in their 30s and older, with men excluded. Men must carry the necessary load for the performance and leave the place. Only women sing Nongbau's songs in a melody and sound, and enter the water of the valley below Nongbau, play with their naked bodies, and end the show, which is so auspicious that the sky gives rain.

Yangpyeong bier and hoe daji are funeral rituals that are handed down in Yangdong-myeon, Yangpyeong-gun, Gyeonggi-do, ranging from a song sung by people who perform fortune-telling and consolidate their graves.

The sound of the bier is sung during the funeral process of carrying a coffin containing the body on a bier and carrying it from the house to the Jangji-dong site. On the night before the contest, the bier carries an empty bier and the bier members sing and play, which is called a "stand-up." On the morning of the birth day, after the funeral ceremony, the bier bowed twice with the bier on, and then went back and forth three times singing a long bier, which is said to be "fit their feet." When the bier went out, he used the drum along with the trick. When the seonsor shakes the knack and picks up the sound, the drummer plays the drum and follows. When a bier leaves the house, it sings a long bier sound, "Eogeum-cha-sori," and when it goes fast, it sings a voluntary bier-sori, "Eo-hwa-sori." In this area, bier was said to have sounded long when climbing steep mountain paths or crossing narrow single-wood bridges.

When the bier arrives at the burial site, it digs into Gwangjung , a hole where the body can be buried, and goes down the hall. After that, he poured soil and sashimi and did hoe-daji three times, which is said to be "hardening up the three senses." The sound called in this process is the sound of a hoedaji.

They sing long dalgoo sounds, followed by voluntary dalgoo sounds. The long hoedaji sound is hit by the slow Gutgeori rhythm and the back sound is received as Voluntary dalgu sound is given to the rhythm of Jajan Gutgeori and the back sound is given to the rhythm of Jajan Gutgeori. At the third end, the song ends with a song titled "The Bird Chasing" in a Menaritorian tune on the Jajin Gutgeori rhythm.

Yangpyeong's bier and hoe-da-ji sound is meaningful in that it reveals the characteristics of the eastern part of Gyeonggi Province. Yangpyeong Bier and Hoedaji Sori Preservation Society is formed, and since the death of Choi Won-san, the artistic owner, Choi Bong-ju, the head of the conservation committee, is currently working on various events and competitions to win the victory.

This is a tutelary rite held in early January on the lunar calendar, or in spring or fall annually, or biennially or triennially near Seoul or Suwon or Incheon, to pray for peace and a good harvest. At present, a complete version of the rite can be seen only in Jangmal, Bucheon. The shrine for village guardians in the pine forest, which is more than 300 years old, tells us that the exorcism rite started during the Joseon Period (1392 – 1910). The rite starts in the morning and finishes the next day morning. It is performed by a hereditary exorcist skilled in songs and dances. Male exorcists liven up the atmosphere, doing tightrope walking, cracking jokes and displaying various feats. Songs and dances by gisaeng (female entertainers) used to be included, but they have disappeared. Participation of male exorcists (called Hwaraengi) in the rite distinguishes Gyeonggi-do Dodanggut from those performed in other areas. Music and rhythms used in this rite follow those of pansori (epic chant). Displaying high artistic quality, Gyeonggi-do Dodanggut is regarded as a valuable source material for anyone studying the country’s traditional culture.

Since the Joseon Dynasty, the tradition and customs of the Korean people have been established, and it was a typical trend of leap month in Seoul.

According to Hong Seok-mo's Dongguk Sesigi, "Yundal custom" is believed to have led Jang's women to visit the temple and offer money to the temple, and from heaven." The contents of Dongguk Sesigi appear to have witnessed and recorded in person the life and death of a Buddhist temple in Seoul.

Even during the Joseon Dynasty, when Confucian culture prevailed, temples around the capital city continued to inherit the tradition of Buddhist rites. The temples in Seoul continued to develop these historical and cultural foundations to maintain the reputation of the temple and to establish itself as a seasonal custom of Korean traditional culture.

Seoul's Jesus is worth preserving as an intangible cultural asset of the Seoul Metropolitan Government, given that it is a representative intangible heritage used in Seoul, and that it retains the original form of Jesus, which was seen at the time of the seventh anniversary, after completing the six-year-old ritual ceremony to suit.

Seoul's "Survival Jesus" will be designated as a group without a holder in that it is an intangible heritage handed down through an organization.

Sajikdaeje is a national rite given to the god of land and grain, while Sajik means the god of land, and Jik means the god of grain. In ancient times, when a country was established, a ritual was held to pray for the people to live comfortably in the land and grain gods. The memorial service for the resignation, which has been held since the Three Kingdoms Period, offers a glimpse into our ancestors' gratitude for nature.

King Taejo of the Joseon Dynasty established Jongmyo Shrine and Sajikdan Altar (Historic Site No. 121) along with the royal palace to set up Jongmyo Shrine on the east side of Gyeongbokgung Palace, Sajikdan Altar on the west, and Sajikdan Altar in each province to pray for the comfort and good harvest of the people. Sajikdan has assigned divisions (Taesasin and Futosin) and direct divisions (Tajiksin and Hujiksin) to the east and west). The ancestral tablets of Taiji and Taijik face north to the south of the Dansang, the huto god to the left of the Taoist god, and the latter to the left of Taijiksin.

Usually, ancestral rites were held in February and August, and a rain ritual was held in the event of a major national crisis or drought. The procedures and formalities for holding ancestral rites have changed little by little over time, but gradually we moved away from the stage of imitating the Chinese ways and had our own examples. Various kinds of grain including raw meat of cattle, pigs, and sheep are prepared today, and the rituals are held in the order of spirits, emperors, jinchan, choheonrye, aheonrye, Jongheonrye, Eokbokrye, Cheolbyeondu, Songsin, and Mangye (Mangye).

The music, dance, food, clothing, and rituals used in Sajikje, as well as our own ritual procedures for holding rituals, help us understand traditional culture. In 1894 (the 31st year of King Gojong's reign), the system was changed to the new government system, and was abolished by Japan's coercion in the 2nd year of King Sunjong's reign (1908). Since then, it was restored in October 1988 through the testimony of the late Yi Eun-pyo, who was the holder of the Jongmyo Jeryeondae. Currently, the Sajik Daejebongsa Committee, located within the Jeonju Yi Clan, preserves and inherits the Sajik Daeje.

The Musudongsan Shrine is a village religion that has been handed down from the late Joseon Dynasty to the present day in Musu-dong, a community village of Andong Kwon Clan, and has been designated as an intangible cultural asset in Daejeon to preserve the tradition of folk culture in Daejeon.

Sanshinje is recognized as a holding organization as its tradition continues to this day due to the efforts of the Musu Dongsan Shinje Preservation Association despite the rapid influx of foreign culture and culture after liberation.

It is said that it was passed down from about 400 years ago as a kind of pungo festival to pray for the well-being of the village of Suryong-dong in Pangyo-ri, Seobu-myeon.

The Odang Shrine, which is enshrined in the Suryong-dong Dangje, and the ritual for it are typical types of the West Coast islands and coastal regions.

Seokjeondaeje is a ritual held at Munmyo Shrine, which honors Confucius, and is also called Munmyo Daeje or Seokjeonje (a ritual for raising meat and playing music). There is no record of when Confucianism was introduced to Korea, but it is assumed that the ritual was conducted in accordance with the ritual customs of ancient China based on the record that Taehak (National University for Confucian Education) was established in the second year (372) of King Sosurim of Goguryeo.

Seokjeon Daeje is held every February and August in memory of the virtues of Confucius and other saints. The procedure is carried out in the order of Yeongsinrye, Jeon Lungrye, Choheonrye, Gongak, Ahheonrye, Jongheonrye, Eokbokrye, Cheolbyeon, Song Sinrye and Mangjae. Music is called Munmyo Jeryeak, which is a Daesung aak that collectively refers to instrumental music, vocal music and dance, and only eight sub-acids are used, and two bands of dungga and Hunga are played alternately according to the procedure.

Currently, 15 palaces including Songs of Songs and Imjonggungs were adopted during the reign of King Sejong (r. 1418-1450) during the early Joseon Dynasty, including Songsingok, Hwangjonggung Palace, and Songsin Hyeopjonggung Palace.

Seokjeon Daeje is a national event, which is held in a quiet and solemn atmosphere, and has a comprehensive artistic character where music is played and dance is accompanied.

Yeongsanjae is a form of 49jae (a ritual held on the 49th day of human death), a ritual in which the spirit lives in paradise by believing in and relying on Buddhism. It has a symbolic meaning of reproducing the Yeongsan Recitation, which was performed by Sakyamuni on Yeongchisan Mountain. Yeongsanjae is also known as the "Yeongsanjakbeop" as a representative rite of Buddhist Cheondoism. The origin is unclear, but according to Yi Neung-hwa's "Chosun Buddhist Temple," it was already practiced during the early Joseon Period.

Yeongsanjae starts by hanging Yeongsanhoesangdo outdoors to symbolize the place where the altar is made. A procession ceremony is held to bring the objects of faith from outside the temple, where various instruments such as haegeum, drum, janggu, and geomungo are played to praise the meritorious deeds of the Buddha, and the bar dance, butterfly dance, and Beopgo dance are performed. After the subject of faith is moved, various examples are provided to pray for wishes and offer sacrifices to the soul.

Finally, there is a ceremony to send back the objects of faith, and where the altar was built, all the public went around in a row to practice solitude and so on. It used to take place three days and nights, but in recent years it has been scaled down for one day.

Yeongsanjae is one of the traditional cultures, and it is valuable as a solemn Buddhist ritual in which both the living and the dead can realize the true truth of Buddha and reach the point where they can escape from anguish and anguish and participate in the public, not the performance.

Many terms are used in the Gyeonggi-do area, such as "jari heart" and "banggaseum," but this is a common term. Walking is one of the ceremonies held on the night of the funeral in Seoul and Gyeonggi Province, and is a kind of purification ritual. In shamanism, the surrounding of the dead body and the dead body is defined as unjust, which is a concept viewed from the point of view of the living. Jajari is performed in a ceremony that requires a process to purify injustice, and the background of this death rite is that the living are pursued through rituals for the dead.

It is a small-scale ritual that does not involve complicated procedures and contents, and consists largely of "negative Cheongbae," "jariwalking," and "backward." Because it is not a exorcism, it does not involve a variety of dances, songs and accompaniment music. Most of the minimal procedures are carried out by sitting down and often by hooks or keys.

Although various localities and people perform the activities, Jeong Yeong-do's activities have a procedure that draws special attention to the composition and contents of Jeong Yeong-do's activities. The process of purifying unclean places and unclean places clearly reveals the nature of traditional cultural heritage.

Jeong Yeong-do, the owner of the rock-carrying business, learned how to walk from Kim and Guri 'Doldari Kwon Man-shin', who had been doing business in Bucheon and were called 'Nommal Shin clan Man-shin'. In 1993, the Jajari Jajari Conservation Society was formed to promote the success of Jajari Jageori in Gyeonggi-do.

"Woljeongsa Top Doll" was handed down through Japanese colonial era and 6.25, and Monk Manhwa, who was appointed as the host in 1969, restored and systematized the traditional top Dori.

Since then, the "Woljeongsa pagoda" has been in service every year since its demonstration at the Odaesan Buddhist Culture Festival in 2004 after going through a period of stagnation in the 1980s and 1990s. Since 2013, the tower has been held every month on the fifteenth and the first day of the month.


In addition to Woljeongsa Temple, Tapdol is performed by Beopjusa Palsangjeon Tower Stone, Chungju Central Tower Stone, Tongdosa Pagoda, and Manboksa Pagoda, but it is the only one designated as an intangible cultural asset.

Tapdoli is a ritual that has a long history that was mentioned in the history of the Three Kingdoms.


Source: Hyundai Buddhist Newspaper (http://www.hyunbulnews.com)

Yangju Sonori Gut is also known as Sogut, Sogeum Gut, Soeogut, Sonoreum Gut, and Mabutaryeong Gut to pray for family prosperity and good harvests during the Lunar New Year and Ipchun.

Some say that the origin of Yangju Sowonolgut was derived from Gamaksa Temple, which is regarded as a mountain god in the Yangju area, from a good harvest, from a good harvest, from a good harvest, from a royal rite, and from the entertainment of the rite, but no exact origin was revealed.

However, it is regarded as a game that originated from Somec Nori, which worships the cows, horses, and the sky, and was played not only in Yangju but also in Seoul, Gyeonggi, Gangwon, Chungcheong, Yellow Sea, and South Pyongan Province.

The oxenolgut is not performed alone, but is played following the jeseokgeori because it is similar in the nature of farming rituals for cattle and praying for their offspring and longevity.

At the end of the Jeseok Street, fill a wooden head in front of the jango with beans and stick a dried pollack with a dried pollack to make the sogo stick a stake. Jo-mu, who plays the musician and jango, sits in the yard, and when the gutgeori rhythm rings, Ju-ja, who has white ginseng in her white cone, stands at the end of the floor with a stone fan in her right hand.

The calf enters first and plays, then heads to the gate to guide the horsemen and cows. Wrap a rubber band with straw to make a head, and with the stone folded in half, five to six people enter and pretend to be cows. A calf plays with a straw mat on its back. The horse-riding one horseman wears a black vest and a navy abalone, a three-shin fan in his right hand and a reins in his left hand.

The stage of Gut will be moved from the floor to the yard, and the main character will also be changed from shaman to horseman. Gut consists of a conversation between a shaman and a horseman, a horseman's taryeong and words of blessing, a horseman's dance and movement, and a cow's taryeong has a long but sophisticated commoner lyric.

The sound of oxenolgut starts with (Who's looking for me) (Treasure No Jung-gi) (Taemultaryeong) (Mabu Colonel) (Mabu Colonel) (Cutting the head of a cow) (Cutting oxen) (Teaching oxen) (Taeryeong) (Gullet Tare of cows) (Gulle Tare of cows) (Taryeong))

Yangjuso Nori Gut is the largest play among other rites, with the lyrics of the rite in a sophisticated commoner style.

Jeju Chilmeori Dangyeondeunggut is a rite held at Chilmeoridang, the main hall of Geonip-dong, Jeju.

Geonip-dong is a small fishing village on Jeju Island, where residents held a ritual to pray for the peace and prosperity of the village to the two couples, the city's guardian deities, Dowonsu Inspection and Local Government, and the Yowwanghae Shrine, by catching fish and shellfish or making a living by working as a haenyeo.

Along with the couple's guardian deity, a ritual was held to honor the deity of Yeongdeungpo, which was held on February 1 from the Oenunbaeki Island or Gangnam Cheonjaguk to enrich the fishermen and haenyeo and return to their home country on February 15.

Danggut is held on February 1 and February 14 of the lunar calendar every year. On February 1 of the lunar calendar, when Yeongdeungpo god enters, Yeongdeungpo Hwanyeongje is held, and on February 14, the day before he leaves Yeongdeungpo god, Yeongdeungpo Songbyeolje is held.

Residents believe that the god of Yeongdeungpo receives a bigger farewell than the welcoming ceremony and leaves the next day after receiving a farewell ceremony in Udo, Gujwa-eup. Therefore, during the welcoming ceremony, only the owners of the ship or the religious people gather to perform a simple exorcism, and the farewell ceremony is held all day long, with many fishermen, haenyeo and other religious people gathering.

On Good Day, fishermen and haenyeo in Jeju City as well as residents of Geonip-dong will participate. And each family prepares food for ancestral rites and brings it to the sugar. Main Simbang performs the exorcism with singing and dancing to the rhythms of musical instruments such as gong, drum, and seolsoe.

The order of the exorcism rite is to invite all the gods to pray for the good fortune of the families who participated in the rite, to call in the local magistrate of Dowonsu, the local magistrate of the hometown, and Mrs. Yowanghae to pray for the peace of the village, to welcome the dragon and the god of Yeongdeungpo, to the safety of the fishermen and the haenyeo, to the sea again, and to the seeding of the sea.

Jeju Chilmeori Dangyeondeunggut is a rite containing Jeju Island's unique haenyeo beliefs and folk beliefs about Yeongdeungpo-shin, and has its unique and academic value in that it is the only haenyeo rite in Korea.

※ Rename: Jeju Chilmeoridanggut 제주 Jeju Chilmeoridang Yeondeunggut (Changing Date: 2006.6.19).

Jindo Sushi Kimgut is a ritual in Jindo area that wishes the spirit of the dead to go to a pleasant and comfortable world after solving the lingering resentment in this world. It is called washinggimgut because it cleanses the resentment.

Because of its strong Buddhist nature, it seems to have been made during the Goryeo Dynasty, and the contents of the rite vary depending on time and place.

Gwakmeori Washing Gimgut, which is performed next to the corpse when the portrait is made, and 'Sosang Washing Gimgut'On the night of death on the night of the second year's death'Daesang Washinggut'When the sick or bad things happen frequently in the house, and when the tomb is temporarily built (at the beginning of the burial), the grave, the funeral.

The order of washing gimgut is to announce the celebration to the ancestors and the Cao Wangban on the day of King Cho's descent or the city's assembly, 'Honmaji'Honmangseok'that brings out the souls of the dead, 'Churimaji', which delights the souls of the souls of the dead, and the friends of the dead who serve the dead. *'Wangpul', 'Soulp', 'Samegappul'Samepole'Samepole'Samepole'Semplating the dead for not getting the medicine, 'Snowing', to see if the dead man's grudge has been relieved when his family or relatives hold hands, the dead man's soul comes down and says grudges.

The music of Jindo Sushi Kimgut will be composed of a flute, daegeum, haegeum, jango, and gong, centering on Yukjabaegimok (Sinawimok). The shaman is dressed in simple clothes, such as white clothes and scarlet bands, and performs the Jijeon dance, which is similar to the Buddhist monk's robe, and solves the resentment of the dead. The song is in the form of a single syllable and a long verse that carries the sound and receives the sound from the back, and is very exciting and beautiful with the sound of the melody and various refined woodwork.

Jindo Sushi Kimgut is a Buddhist ritual that wishes for the safety of not only the dead but also the living, and has excellent artistic elements and great material value in dance and music.

Seonghwangje is a communal ritual for the village that has been handed down from the gray area of Seonggok-dong, Danwon-gu, Ansan. This village ritual is considered to have specific characteristics in that it has the characteristics of a holy emperor.

Seonggok-dong Jehommeori Seonghwangje is a village rite held by the residents of the village to pray to the guardian deity for good health, good health, and good harvests. The shrine houses Hong, the last king of Silla, and his mother-in-law, Ahn, as a village religion dating back to the reign of King Seongjong of the Goryeo Dynasty.

It is handed down in the form of village ritual, and residents of about 10 villages in the vicinity, including Anmal, Doranmal, and Beolmal, are participating in the rite in early October every year.

The Samhyeon Yukgak is accompanied by Janggun, Sinjang, Daegam, Daeshin, and tightrope walking.

There is a legend that during the reign of King Seongjong of the Goryeo Dynasty (982-1997), the inner poet, Seo Hui, met a storm on his way to Song Dynasty, and he built a shrine and carried out his mission safely to release the sorrow of the spirit (Rain Hong and Ahn, the mother of King Kim Dae-dae, the king of Gyeongsun) that appeared in his dream.

Seonggok-dong's gray-headed holy emperors have been held twice a year to greet the spring and autumn shingok. It is said that the Seonghwangje Festival was much larger than the Seonghwangje Festival, which took several months to greet the new song of autumn.

The Hoemori Seonghwangje is of important value in that it is a joint ritual with a village nongak band in the form of the emperor.