Dongnaehak Dance is a school dance handed down from Dongnae area. The dance, which was usually performed during the Dongnae Yaryu or tug-of-war on the fifteenth of lunar January, was named Hakchum because a dancer wearing a gat on a dopo and dancing a deodebaegi dance, "Hakchum is like dancing."

Dongnaehak Dance does not have a separate costume, but improvises in everyday clothes such as dopo, pants, socks, and tattoos. The accompaniment is composed of kkwaenggwari, janggu, gong, and drum, and the rhythm is Gutgeori rhythm.

The dance includes a son-in-law who can move his hands wide, a son-in-law who raises his feet, a son-in-law who can see the crane spreading and cuddling its wings, a son-in-law who looks at the left and right sides, and a son-in-law Bae Kim-sae who moves lightly from side to side with his right feet bent forward.

Looking at the composition, it is not organized in a certain order, like a general folk dance, but free-spirited improvisation and personal style are emphasized.

Dongnaehak Dance is a dance of high artistic value expressed in elegant and elegant dance moves that harmonize natural and artistic beauty.

Entertainment holders Yoo Geum-sun (Guum), and entertainment candidates Lee Sung-hoon (Infinite) are continuing their careers.

Yi Ok-hui was born in Buyeo, Chungcheongnam-do in 1936, and is also called Yi Il-ju.

I learned how to play sound since I was young, and learned the basics of pansori such as Simcheongga and Chunhyangga from master singer Lee Gi-gon. After that, master singers Park Cho-wol, Kim So-hee, and Oh Jung-sook learned pansori and practiced their talents as master singers.

Lee Il-ju sang the pansori part at Jeonju Daeseok Nori in 1979, sang Simcheongga and Chunhyangga at the Seoul National Theater in 1981 and 1983, and won the Jeollabuk-do Cultural Award in 1982.

When a funeral is held due to mourning in the village, the remains of the deceased are carried out as bier. At this time, the sound of the bier is the sound of the bier, and when the singer shakes the key and picks up the sound of the front, the patrons carrying the bier get the backstabbing. It stArts with a slow-pronounced long sound, and when the bier leaves Donggu, it sings a little faster, and when it goes up a steep mountain path, it sings a fast and powerful sound. After arriving at Zhangjiyue, the song sung in the process of ironing out the mound is the sound of hoedaji. When one of the singers chokes up the sound, the rest of the people mince the sashimi while receiving the backbiting.

Yangju Sangyeosori consists of a long sound and a jajin sound. The long Sangyeo sound is a slow gutgeori rhythm, and the back sound is 'uh-huh-uh-huh-uhri Neomchaeoha'.

The Jajin Bonusori is a voluntarily gutgeori rhythm, and the back sound is briefly 'oh oh oh ho'. The tune of Sangyeosori in Yangju region is menaritori.

The sound of a hoedaji includes a variety of sounds. The long dalgosori is played by a long gutgeori rhythm and the back sounds are "Ehuri dalgu" and steps on the dirt with their feet. Afterwards, the sound of self-hearing and Gyeongtori tune was called. Hoesimgok or Chohanga are sometimes sung in the rhythm of the dalgu sound. The following sounds of floriculture, boss's sound, body sound, and chirping sound are the same as the agricultural songs called gimmaegi. In the meantime, the lunar calendar ends with the sound and the mound is completed. The sound of bier tea includes not only mourning for the dead, but also labor-critical nature of holding funerals with neighbors.

The sound of Yangju Bierhoi Daji was activated in 1995 when the village's youth formed the Bier and Hoedaji Sori Preservation Society and the nation's first training center. Currently, Hwang Jung-seop, the owner of the festival, is Performing various performances and is striving to win the victory.

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.

Arirang, a national intangible cultural asset, is one of the most widely shared cultural symbols and a song that contains the sentiments of the Korean people.

In addition, Arirang is a simple and natural expression of the people's joys and sorrows and aspirations, and has been passed down for generations, adding vitality to its value in history, artistry, and academic value as an intangible cultural asset.

※ 2012.12.5. Enlisted on UNESCO's Intangible Cultural Heritage of Humanity.

※ Arirang is a national intangible cultural asset that does not recognize certain holders or organizations in that Arirang is widely passed down across regions and generations and applied to modern times.

Seodo-sori refers to folk songs and japga, which were handed down in Hwanghae-do and Pyeongan-do provinces (Seo-do areas), and the exact timing of when the song began to be sung is unknown.

Seodo-sori is composed of Pyeongan-do folk songs, Hwanghae-do folk songs, Seodo japga, a poem reciting Chinese poems, and Baebangi-gut, which has a dramatic composition.

In Pyeongan-do folk songs, there are water-seam-ga, woven water-seam-ga, gin-ari, jaja-ri, and Anju-ae-seong. The most famous water-seam-ga is the water-seom-ga, which recited the sorrow as a complaint when the people of Seodo-gun were blocked from public office since the early Joseon Dynasty.

Pyeongan-do's sound generally consists of five notes: re, mi, sol, la, and do, which form the framework of melody by going down a full five degrees from the shaking sound 'la'. In general, the editorial is long and the rhythm is not constant, so it is characterized by proper arrangement of the editorial.

In the folk songs of Hwanghae-do, there are Ginnanbongga, Jajeonnbongga, Byeongsinnanbongga, private Nanbongga, Sanyeombul, Jajinyeombul, and Monggeumpotaryeong, which are famous for their nangbongga and wildfires.

The sound of Hwanghae-do represents the general melody of Seodo, along with the sound of Pyeongan-do, but it is slightly different in terms of its melody progress. Pyeongan-do also has a certain rhythm compared to folk songs, and is bright and lyrical.

Seodo japga is a sit-down sound that opposes the introduction of Seodo, and there are Gongmyeongga, private Gongmyeongga, Chohanga, Jejeon, and Chupung Gambyeolgok, among which Gongmyeongga is famous. Seodojapga has a long editorial, and the rhythm is irregular according to the embroidery of the song. There is something in common that ends with a deep-seated attitude when closing the end.

The rhythms of Seodo sound, commonly called "Sushimgatori," are usually played from the top, the top notes are dropped, the middle notes are shaking violently, and the bottom notes are stretched straight, making it sad to sing these sounds in a relaxed.

The singing style of Seodo Sori is a bit unique, but since there are Sokcheong and Bongcheong, Sokcheong uses a sound that is pulled with the inner voice and the head and the back of the main office.

Baebangi Gut is a music that is often compared to pansori in Namdo, and a singer narrates Baebangi's story in a humorous way by mixing folk songs, radish songs, and jaedam based on Seodo's basic musical grammar in line with Janggu's accompaniment.

Seodo-sori is a sound that has been handed down by the people of Seodo, who have been living in a harsh climate adjacent to the continent, along with the northern immigrants, and their living emotions are also well reflected in the songs.

Japga means song, which is a Traditional song of upper-class culture, song that is not refined compared to sijo, and song of lower-class culture that is miscellaneous or vulgar. This is a term that is different from that of a genre that played a part in Korean pop songs along with Gyeonggi-do, and refers to a japga (subga) created by professional singers such as clowns and Sadangpae in the late Joseon Dynasty.

Originally, Japga was formed and flourished at the end of the Joseon Dynasty, but was relegated to Western-style songs around 1830. Therefore, Japga is a genre of literature that marks the end of the Joseon Dynasty, and it is considered a transitional genre that connects the present and the past.

남도잡가는 <보렴>, <화초사거리>, <육자배기>, <자진육자배기>, <흥타령>, <개구리타령>, <새타령>, <성주풀이> 등을 지칭한다.

Gwangmyeong Nongak is a nongak established on the modern basis of Gwangmyeong City, focusing on Cheolsan-dong, Soha-dong, and Hakon-dong under the current geographical conditions. Rice farming, nongak, and dure are closely related to each other, and this tradition of farming is related.

As a result, it becomes the foundation of Gwangmyeong Nongak. In the past, Gwangmyeong City was part of Siheung-gun, Gyeonggi-do. This area is wide and rice paddies are developed.

Gwangmyeong Nongak has the typical characteristics of Udari Nongak, so the characteristics of the rhythm and the engraving reflect the characteristics of Nongak in the Chungcheong area of Gyeonggi Province. The starting point may have originally originated from native nongak, but the current Gwangmyeong nongak cannot be denied that there are strong traces of tae nori nongak. The unique characteristics and identity of Yeonhui Nongak should be found in the book, as it is borrowed from the contents of the book and its specific name.



It is almost impossible to verify the aspect of Durepungjang or the seasonal nongak in January. Apart from the sincerity of the original form of nongak, it has the nature of nongak, which can be re-discussed from the angle of Traditional re-declaration in the future.

Since the Traditional foundation of Gwangmyeong Nongak exists in the form of rice paddy farming and the deep bottom of the sound of rice paddies, the indigenous foundation of Gwangmyeong Nongak, which is the medium, also indicates the Traditional origin of Gwangmyeong Nongak. The fundamental reason for Gwangmyeong Nongak is that the Traditional culture was not kept in the process of the new industrial city called Gwangmyeong. As a precedent showing the problems and possibilities of the rapidly changing industrialization society, we should pay attention to the aspects and changes of Gwangmyeong Nongak at the same time.

Namsadangpae is a folk play group that originated from the working class in the late Joseon Dynasty, and it is a group of professional performers who performed with six kinds of talent: spinning plates (berna), skipping tricks (salpan), talnori (sokbogi), tightrope walking (yoreum), and puppet play (dulmi). It consists of 40 to 50 people, including four to five dungsoe, heat, beep (first-particle), low-pitch, and backers. Cheongnyongsa Temple, located in the middle of a mountain in Seowun-myeon, Anseong, became the home of Namsadangpae, and the origin of Anseong Namsadangpae can be seen as Buldanggol Sadangpae, which was sponsored by Cheongnyongsa Temple.

Anseong Namsadang Pungmul Nori consists of Yeonggi, Seonanggi, and family register, while Pungmul Jab consists of objects, buckgu and Mudong. The pungmul rhythm is based on 'Utopdari rhythm'. write powerful, delicate, slow, and fast rhythms evenly The composition of pangut consists of Insagut, Dolim Buckgu, Gopolim Buckgu, Dansan Distant, Dansan Norim Buckwheat (Yang Sangchigi), Dangsan Dolim Buckgu, Obangjin, Mudong Norim, Buckgu Norim (double-stringed white), Sadongbaeki, Gaetonggeori, Jwaupeulim, Nebaekchigi and Yisugi and Yisukim and Il.

In the early 20th century, many Namsadangpae Mogap were produced, and the pungmul of Anseong was called 'Uldari Nongak' and became the central part of Nongak in Gyeonggi Province. The Namsadangpae, which was active at the time, included Gaedaripae, Ohmyeongseonpae, Simseonokpae, Anseong Bokmanpae, Wonyukdeokpae, and Lee Wonbopae, but the actual origins of Namsadangpae are the genealogy of Baudeok, Kim Bokman, Wonyukdeok, Lee Wonbo and Kim Ki-bok.

In 1982, the Anseong Namsadang Preservation Society was established under the leadership of Kim Ki-bok, who took the Sangsoe class at the Yiwon Bopae. In 1989, he won the Presidential Award at the National Folk Arts Competition. Kim Ki-bok was designated as a holder of entertainment in 1997, but died in 2015. Since then, Sung Kwang-woo, the chairman of the conservation committee and assistant instructor for training, has been striving to perform performances and pass down the event.

Kim Moo-chul was taught the dance by his father, Kim Jo-kyun.

The name of the dance was called "Nammu" due to the nature of the Jeolla region, where Traditional dances were held at that time, and the dance performed by Namsadangpae and Mudong etc. as a entertainment at the end of the Joseon Dynasty was performed at Kibang when Namsadangpae were scattered. It is a dance in which Hong-an, which is covered with a fan, is covered with a combination of images of Han-ryang and Heung-heung, and adds to the style, and gives a glimpse of Han-ryang's knowledge and personality, especially the unique charm of foot stepping-stone adds to the taste of the dance.

The musical instruments used in the Jeolla Samhyeon Yukgak are composed of daegeum, piri, haegeum, janggu, and drum, and are accompanied by a danso. Daegeum uses three modern gold, and the flute uses a spice. Samhyeon Yukgak was performed at various events, including the ancestral rites of Hyanggyo, the sixtieth birthday and marriage of Saga, the ancestral rites at the temple, or the dancing of the sangnyang, or the shooting of a bow.

There are only Nongsamhyeon and Minsamhyeon in the country in the Samhyeon Yukgak Pavilion in Jeolla-do. Nongsamhyeon was refined to perform as an accompaniment for dance, while Min Samhyeon was originally used by private households.

The songs used in the Jeolla Samhyeon Yukgak include Bonyeongsan Mountain, Jungyeongsan Mountain, Janyeongsan Mountain, Hudu, Kokduri, Dolgop, Samhyeon, Yeombul, Samhyeon Doljang, Taryeong, Gutgeori, Haengrak, Gunak, and Dangak. Jeolla Samhyeon Yukgak is characterized by a proper change in the order of music performed according to the content of the event.

Nongsamhyeon in Jeollanam-do learned 48 songs and compositions of Daepungryu, but now only Bonyeongsan, Yeombul, Gutgeori, Late Taryeong, Jazun Taryeong, and Victory Songs are left. Samhyeon Yukgak, which was born because not only ritual music, but also royal music such as Haengak, temple music, and sedentary music were not distributed to local government agencies, has been a major contributor to the promotion of Korean Traditional music.

Geumsan Nongak is a nongak that retains the original form of mountain basin-type folk culture developed between Sobaeksan Mountain Range and Goryeong Mountain Range, and it preserves the original form of left-hand Nongak.

Geumsan Nongak is a very professional nongak that has been developed beyond the village nongak stage and developed into a packaged nongak through the geolip nongak stage. Geumsan Nongak has been awarded several times since its liberation as a representative of various competitions held across the country, and pangut of the Geumsan Nongak Band Choi Sang-geun, who toured around the country, has developed and is being passed down with roots in Geumsan Nongak today.

Geumsan Nongak shows various development processes in Geumsan's base culture such as Village Gut, Songgye Daebang Nori, Dure Pungjang, Cheonnae Baegeollipgut, and consists of Yeonggi, Napal, Taepyeongso, Daepo, Changbu, Cooking, Yangban, Nonggun, Gaksi, Halmi, Geolnong, Flower Butterfly, Jeong, Jing, Beopgo, Beopgo, Beopgo. In particular, Geumsan Nongak is developed to the highest level among left-hand Nongak.

The genealogy of Geumsan Nongak is handed down to Kim Soo-dong, Choi Sang-geun, Ju Gi-hwan, Kim Byeong-hwa, and Park Hee-jung as Jeon In-geun.



Geumsan Nongak has different forms and procedures depending on the purpose, timing, and location of the performance. If you divide the types, you will find "Maegut" on Seotdal Geumeum, "Madangbapi" on the New Year's Eve or the New Year's Eve, "Dangsanje" on the fifteenth of lunar January, "Geolipgut" from early 3rd to Daeboreum, and "Boreum," "Geum," "Geum," "Geum" before planting, and "Geum" and "Geum" and "Geum" and "Geumgi"



Geumsan Nongak Village Gut's performance procedures are passed down to Deuldangsan, Naldangsan, Samgut Topje (Dangsan Gut), Mungut, Madang Gut, Sungju Gut, Jeongji Gut, Cheolyong Gut (Janggwang Gut), Siam Gut (Samgut), and Geoggan Gut (Gwanggut), and each process is divided independently. The front gut consists of instrumental and dance elements, and the back gut consists of vocal, performance, and playful elements. In particular, the rhythms that show the local characteristics of Geumsan include Oemachijilgut, various twelve machi, Nejinmachi, Jajinmachi, Yeongi, Dancegut, Pungnyeongut, and Bapsakgut, which are produced, sweet and easy to break, and slow to play, and the forms that are formed very quickly are of high quality music, Samjingut, Gosarikeokgoggi, mokgoggi, Moleonggut, Gosugi, Gosugi, Gosugi, Gosugi, Gosa.



Geumsan Nongak's Chibaegwae is composed of jockey, apron, and duchibae.

1) Number of flags

1 descriptor (numeric), 1 container (memorization), 1 agricultural instrument, 2 young flag, 5 obanggi

2) An apron belly

Nabal, three saenab, six kkwaenggwari, four gongs, eight janggu, six drums, 12 sogo.

3) Duchibae

Daepo Water - 1, Yangban - 1; Gulnong - 1; Cooking - 1; Gaksi - 1; Halmi – 1; Mudong (1 flower butterfly, 1 middle butterfly, 2 changbu, 4 basketball)



The colors of Geumsan Nongak are divided into gisu, apron, and dukchi. The gisu is the same as the gisu, which is the same as the gisu, and the gisu is the same as the gisaeng and the gisu.

In the case of an apron, the kkwaenggwari wears purple daggers, gongs, janggu, drums are purple vests, and sogo is navy vests. In the case of the dutch, the clothes are all distinguished differently, divided into mixed colors and motionless clothes. In Geumsan, a skilled person in the neighborhood made flowers and painted five colors in a beautiful way by decorating the flowers by making samemi (a cedar tree woven like a hat), and older adults still call it samemui and dolmu.

Jeju Island announced the designation of 'Jinsadaesori' in Aewol-eup, North Jeju-gun, as a local cultural asset after a review by the Jeju Cultural Heritage Committee on the 26th.

The "Sound of Jinsadae," a work song sung by women in Jeju, is considered to have a beautiful melody and elegant characteristics compared to other labor songs.

Salpurichum refers to a dance extemporaneously performed by an exorcist to put an end to bad luck. It is called Dosalpurichum or Heoteunchum. The name salpuri was first used by the Traditional dancer Han Seong-jun at his theater performances in 1903. The dancer performs to salpuri music in a white skirt and jacket, with a white handkerchief in hand to express graciousness and sentiment. It is said that the present-day salpurichum is one handed down in Gyeonggi-do and Jeolla-do Provinces. With the stabilization of the country toward the mid Joseon Dynasty and invigoration of the culture of commoners, it developed as a dance performed by clowns. Exorcism rites were prohibited during the colonial period (1910 – 1945) and this exorcism dance came to develop purely as an artistic dance. Salpurichum is a classic dance with high artistic value, expressing popular sentiment through beautiful movements and transforming sorrow into delight.

Pansori refers to a singer who intertwines a long story by mixing a spear (sound), a horse (anirli), and a gesture (a shape) in tune with the rhythm of a drummer (a (a drummer).

Pansori was famous for its eight famous pansori singers from around 1834 (r. 1800 to 1834). The rhythms and tunes of the pansori were developed as they are today. The pansori was divided according to regions such as Dongpyeonje (Northeast of Jeolla Province), Seopyeonje (South Jeolla Province), and Jungdongje (Gyeonggi Province and Chungcheong Province).

Among them, the sound of Dongpyeonje passed down from Song Heung-rok to Song Gwang-rok, Park Man-soon, Song Woo-ryong, Song Man-gap, and Yoo Seong-jun was loud. The sound of Dongpyeonje is composed of a thick, grand ornamentation that uses a lot of the tune of Useong, one of the five tones, and makes the voice heavy and the tail of the sound short.

At the time of Pansori, the length of one yard was not that long, so the number of pansori twelve madangs was high, but now only Chunhyangga, Simcheongga, Sugungga, Heungbo, and Jeokbyeokga are handed down because of the five pansori or five batangs of Pansori.

Heungboga is one of the five pansori yards and is also called Baktaryeong. Heungbo, a poor and good brother, fixed the broken swallow leg and planted the gourd seed that the swallow had brought to him to become rich. Nolbo, a generous and greedy brother, broke the swallow leg and planted the gourd seed that the swallow had brought, and made a pansori of the story that the pansori tells the story.

Park Jeong-rye, whose Dongpyeonje Heungbo was designated as a holder of entertainment, came from a Traditional pansori family that had been associated with pansori since her grandfather's generation, and spent her entire life with pansori. Currently, Suncheon Gugak Center is training its students for the victory of Heungboga, the Dongpyeonje.