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K-CULTURAL HERITAGE

Everlasting Legacies of Korea

  • 1985.2.1
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    Wido Ttibaennori is held in early January every year in Daeri Village, Wido-myeon, Buan-gun, Jeollabuk-do to pray for the peace of the village and for a bountiful catch. The name Ttibaennori stems from the practice of letting a boat made of tti (Imperata cylindrica) sail out to sea as part of the ritual. The event is also called Wondangje, as it is performed at Wondang, a shrine set up for the ritual.

    The boat is made of tti, straw, and bush clover spliced together. It is usually sized 3m (L) by 2m (W). People put sacrificial offerings and seven puppets into the boat.

    The event is a local festival in which people sing, dance, and drink together, praying for a bountiful catch and for the safety of fishermen. ☆
  • 2018.3.2
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    ☆possessor Jeon Tae-joon

    - holders of daegeum for the group event, Samhyeon Yukgak.

    - study Jeolla Samhyeon Yukgak under Jeong Hyeong-in in 1956.

    - Reproduction of the Jeolla Samhyeon Yukgak in 1984

    - Recital of Jeon Taejun ryu(style) Daegeum Sanjo in 1985

    - Professor of the Provincial Gugak Center in Jeollabuk-do
  • 2018.3.2
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    ☆"Baecheop" refers to a traditional painting processing method that enhances not only beauty but also practicality and preservation by attaching paper, silk, etc. to letters and paintings. It is also called 'Pyogu' today, and is now called 'Janghwang' in Korea, China and Japan.

    Baecheopjang refers to a person who was in charge of painting in the early Joseon Dynasty and was in charge of painting the royal court.

    Baecheop is known to have originated during the Han Dynasty of China, was further developed into the Tang Dynasty and reached the establishment stage. Although it is not known how it was introduced to Korea, it can be seen from the folding screen paintings of Goguryeo tombs.

    Byun Kyung-hwan

    - studied under baecheop Seo Jae-young in 1964.

    - 1979-1998: "Korea Geumseokmun Daegye" (Wonkwang University) materials and the production of scrolls

    - 2005 designated as Korean Myeong-in(master)

    - 2010 produced Jeonbuk Provincial Museum of Art's Byungpung(folding screen)

    - A member of the Korean Society for Conservation of Cultural Heritage

    - Janghwang Research Institute of Cultural Heritage
  • 2018.3.2
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    ☆- It is a traditional Daedong Nori that comes down from four villages; Jeong-dong, Yongsan, and Hamdae in Gyeryong-ri, Samcheon-dong, Jeonju-si. Through a folk game festival, it honors the spirit of harmony and Daedong, and inherits the tradition of co-prosperity and solidarity of local communities.

    - Gijeop nori conducts a war of flags with a dragon drawn on it, and pungmulpae participate.

    - 1999 Encouragement Prize for Nongak Competition in cities and counties in North Jeolla Province

    - The 46th Minister of the Korean Folk Arts Festival in 2005

    - 2007 Jeollabuk-do Folk Arts Competition Grand Prize

    - President's Award at the 57th Korean Folk Arts Festival in 2016
  • 2005.3.11
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    ☆Yoo Bae-geun was born in 1953 and was studied by his father Yu Yang-su. He won a number of prizes, including the Jeonbuk Craft Competition.

    Hanjibal is the most essential tool for making hanji(traditional paper). The production items are hanji oebal(a Bal), hanji ssangbal(a pair of Bal), and pattern Bal.

    Hanjibal is the most important things to activate our hanji, especially in order to revive our traditional Korean oebal, which are now disappearing due to the Japanese style of ssangbal.

    Yu Bae-geun is well versed in the complex and detailed process of processing bamboo and horse tails, so the level of Hanji-bal manufacturing technology is excellent.
  • 2005.3.11
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    ☆Born in Sunchang in 1940, Lee Jeong-ho was taught Deulsori(field song) by Park Hong-gyu, Yang Hak-gu, and Seol Dong-geun. He won a number of prizes, including the Jeonbuk Arts Competition, the National Folk Arts Festival, the National Folk Song Contest, and the National Sijo Writer Competition.

    Geumgwa Deulsori, The sound of the golden fruit is a representative agriCultural song of this region that contains a simple desire for a good harvest by overcoming the difficult farming work through mutual assistance.

    Lee Jeong-ho is a singer of the Geumgwa deulsori, and he is good at writing lyrics that are suitable for farming, such as watering rice paddies, planting rice seedlings, and hanging laver with the lotus flowers taryeong, banga taryeong, saho-sori, and jangwon-jil-sori.
  • 2010.3.12
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    ☆Bang Hwa-seon

    - A bronze medal at the 2000 Jeonbuk Craft Competition
    - Statue at the 2005 National Craft Competition
    - Winning a prize at the 2005 Victory Crafts Competition
  • 2010.3.12
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    ☆Ji Sung-ja was born in 1945 and was taught Gayageum Sanjo by her mother Seong Geum-ryeon.

    At the age of eight, she started to perform on stages and won the prize through a number of performances and concerts. Seong Geum-ryeon ryu(school) Gayageumsanjo achieved a new era of Gayageum Sanjo by composing the 15th-stringed gayageum improvement and performance pieces with a strong sense of art and stubbornness that values tradition.
  • 2018.3.16
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    ☆Hosanchun is a liquor introduced in 16 ancient documents. The Ojuyeonmunjangjeonsango, an encyclopedia-style book written by Yi Gyu-gyeong, a 19th century scholar, praised Hosanchun as one of the four most famous Joseon liquors.

    Mr. Lee Yeon ho was born in Iksan, North Jeolla Province. He is the fourth son of Lee Kyung-hee, the younger brother of Garam Lee Byung-ki and the eldest daughter of independence fighter Lee Byung-seok, who has been taught by her mother to foster her junior colleagues.
  • 2007.3.23
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    It is said that hawk hunting, which was handed down as a custom in Manchuria during the Gojoseon Period, has been popular since the Three Kingdoms Period. In particular, during the Goryeo Dynasty, the government had a government office called Eungbang, which was dedicated to the hunting of hawks, and during the Joseon Dynasty, the government expanded it to provide internal responses. During the Japanese Colonial Period, it was banned because it was a unique custom of Joseon, but it was revived after liberation, but it has almost disappeared.

    The area of Baegun-myeon, Jinan-gun, has many flying animals and is a plateau area, so when it snows a lot, pheasants that feed on hawks came near the village, so hawk hunting has been prevalent for a long time.

    Now, Jeon Yeong-tae, a native of Baegun-myeon, has learned the traditional techniques of hawking and maintains his reputation as a traditional hawker.
  • 1996.3.29
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    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.
  • 1996.3.29
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    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.
  • 1996.3.29
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    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.
  • 1996.3.29
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    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.
  • 1996.3.29
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    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>.