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.

On September 22, 2016, it was designated as Chungcheongnam-do Intangible Cultural Property No.52 (owner Yoon Ju-yeol).

A loom is a straight line for weaving hemp, silk, cotton, ramie, etc. It is not known exactly when it was made and used, and most of it is made of wood, making it impossible to preserve the long term.

The study of the ancient rectangle shows the form and manipulation of the rectifier through the analysis of the parts of the straight line, the straight line drawing, and the fabric, which are unearthed piece by piece.

Although it is essential for Seocheon Hansan ramie weaving (National designated Cultural Heritage and UNESCO Intangible Cultural Heritage of Humanity), the demand for looms has decreased due to a sharp drop in ramie production compared to the past. In the face of the danger of extinction, the production technology of traditional looms has been designated as an Intangible Cultural asset of the provincial government to inherit and preserve traditional Cultural technologies.

The Beetle Market first began repairing the Beetle in 1962 based on carpentry technology. In 1982, the company produced the traditional loom in earnest, and worked on the supply and education of the traditional loom.

Beetlejang can not only make traditional looms, but also make all the accessories that go into traditional looms, such as body, body houses, malco, beige, loomchae, seondari, drum and drum needles.

Gurye Jansu Nongak is a nongak handed down from Sinchon Village in Sinwol-ri, Gurye-eup, Gurye-gun, and has the characteristics and characteristics of Honam Jwa-do Nongak.

This nongak is basically composed of Dangsan Jemanggut, Madangbapgi, and Panggut, and it retains its tradition as a village rite. Dangsan Jemanggut consists of a farming band performing a ritual at 10 a.m. every year on the day of the first lunar month.

After this rite, the Nongak band went to each house in the village and played Madangbapgi to defeat the evil spirits, which led to the participation of all villagers.례 Gurye Jansu Nongak is not handed down by a professional nongak group, but is a village nongak, which is run mainly by villagers. In the past, Jansu Nongak was so famous that its reputation was known not only in Gurye but also in neighboring Suncheon and Namwon.

In the past, documents related to the operation of nongak are also presented, including the "Nongakwi Family Rule" and the "Nongakwi Family Gyejae Reservoir" written since 1954, which record the principles and financial status of nongak.

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.

"Kimchi-making" is a daily and repetitive culture in which the entire Korean people participate as a community beyond regional, social, and economic differences. Kimchi is an indispensable food for Koreans regardless of the region, and it has become one of Korea's representative foods in recognition of its excellence internationally.

It is an important component of Korean culture for a considerable period of time that contains the spirit of cooperation and sharing, and through this culture, individuals have become united in their relationships with the people, relatives, villages, neighbors, and new communities and have formed their identity.

"Kimjang," the core of kimchi-making, contains traditional knowledge that nature and humans can live together, and the spirit of sharing, solidarity and harmony that emphasizes to maintain the good of society continues to modern society.

In the past, if intergenerational transmission was carried out mainly in women's communities such as mothers and daughters-in-law based on accumulated experience and knowledge, Hyundai is becoming an active entity where science is integrated and men participate in kimchi, and schools, private organizations, and local governments are also actively participating in various forms of kimchi culture.

In addition, the various fermented bacteria in kimchi show biological diversity and local diversity, giving a glimpse of Cultural diversity derived from natural environment.

Making kimchi did not recognize certain holders or organizations in that it was a lifestyle and culture handed down throughout the country rather than requiring high-level special skills.

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).

Pyeongtaek has long been rich in agriCultural products because it has a wide field called Sosatdeul, which has become an important background for Pyeongtaek Nongak.

In addition, Cheongnyongsa Temple near Pyeongtaek became the base of Sadangpae early on, and their nongak developed greatly at the end of the Joseon Dynasty. Therefore, Pyeongtaek Nongak is both a dure nongak and a geolippae nongak (the work of the masses playing gong and begging each other).

The instruments used in nongak include kkwaenggwari, gong, drum, bucku, family register, and trumpet. The formation consists of Yeonggi-su, Nonggi-su, Naepal-su, Hojeok-su, Sangsoe, Buyeo, Sangjang-gu, Sangjang-gu, Sangjang-gu, Bubu, Jongbu, Jongbu-gu, Jongbu, Chilmu-dong, Chilmu-dong, Jungae, and Yangban.

Nongak players wear costumes worn by military graduates in the past, wear colored bands on top of them, and wear a hat or cone hat on their heads. In terms of musical instruments, the gongs and drums are smaller than other regions, and there is no distinction between Sogo and Beopgo.

The cover of the melody is clear, and the presence of songgut is also unique. In addition, Gilgunakchilchae is a genre only seen in Gyeonggi Nongak, and Gilgunakchilchae in Pyeongtaek Nongak is distinguished from other regions.

Pyeongtaek Nongak is a high-quality nongak that is based on the simple tradition of dure nongak, but is composed of a combination of professional performances by namsadangpae entertainers who are highly performing, and Mudong Nori (a child dancing on an adult's wooden horse) was developed in particular.

Referring to farmers’ music that has been handed down in Iksan (previously called “Iri”), Iri Nongak belongs to Honam Udo Nongak (Farmers’ Performance of the Eastern Jeolla-do). Nongak (farmers’ performance) has developed briskly in Saesil Village in Iksan. The village brought people who learned farmers’ music from experts in nearby areas like Gimje and Jeongeup and who trained a high-quality farmers’ music troupe as we see today. An Iri nongak troupe is composed of yonggi (dragon flag), nonggi (farmers’ flag), swaenap (conical wooden oboe), trumpet, samul [four percussion instruments, i.e., two kkwaenggwari (small gongs), two jing (large gongs), two buk (drums), and four janggo (hourglass-shaped drums)], beopgo (Buddhist drum), and japsaek [referring to a group composed of yangban (nobleman), daeposu (drummer), jorijung (masked clown), changbu (male clown), gaksi (young girl), and mudong (dancing boys)]. Troupe members who are called chibae or gunchong wear black vest over white jacket, white trousers, and sangmo (hat with feathers or strings attached), with bands in three colors tied around the head. Kkwaenggwari (small gong)-based rhythms include those related to ilche, ichae, samchae, oemachijilgut, pungnyugut, ochaejilgut, jwajilgut, yangsando garak, hohogut, and obangjin garak. Pangut (entertainment-oriented performance) proceeds in the order of insagut, ochaejilgut, jwajilgut, pungnyugut, yangsando, ginmaedoji (joint performance of kkwaenggwari and janggo), sambangjingut, banguljingut, hohogut, dallachigi, short maedoji, jjakdeureum, ilgwang nori, gujeong nori (individual play), and gi sseulgi. There are diverse forms of bupo nori (hat dance) performed by sangsoe (leader of the farmers’ music troupe). Well-developed janggo rhythms and dances are mixed with the music. The performance also features sogochum (small drum dances) and jinpuri march. Many rhythms are relatively slow. The music makes colorful rhythms, each played to meticulously transformed tunes. Pungnyugut and deongdeokgungi-related rhythms showcase highly sophisticated techniques. Iri Nongak is a folk art performance that has been handed down along with the village history, playing an important role as an event that provides consolation in the hard life of farmers and helps villagers get along with each other well.

Gangneung Nongak is one of the most popular Yeongdong Nongak, which is handed down to the east of the Taebaek Mountains in Gangwon-do, and is also called Farming Pool Nongak because it has a farming pool that imitates and reproduces agriCultural life. Although there are no exact records of its origin, it is presumed that it originated from the beginning of agriCultural life.

Gangneung Nongak is composed of Nonggi, Clenap (Lalari), Kkwaenggwari, Jing, drum, janggu, sogo, Beopgo (small drum used for Buddhist ceremonies), and Mudong (Sanaei). The performers wear white trousers and red, blue, and yellow tricolor bands, while the mudongs wear clothes mixed with various colors.

Gangneung Nongak has three to four days of Nongak band walking from house to house around the fifteenth of lunar January, geollip nongak where Nongak and gosa are performed in order to collect joint funds from the village, gimaegi nongak, which is performed in the yard when gimmaegi is over, and jilmukgi when gimmaegi is over, and during the spring hwajeon nori.

There are Dalmajigut (a wish for the moon), torchlight, and brass leg bapgi (a game in which young women pick one person to walk over their waist), and there are Gimmaegi nongak, Jilmukgi, and Gilnori nongak, which can be called Dure nongak.

Gangneung Nongak plays an important role in promoting mutual harmony and village unity, forgetting the hardships of farming.

Jongmyo Jeryeak refers to music played using dance, songs, and musical instruments when performing ancestral rites (Jongmyo Jerye) at a shrine (Jongmyo) that honors kings and queens of the Joseon Dynasty.

In each procedure of the Jongmyo rite, a song called Jongmyo movement is sung to praise the virtues of ancestors, focusing on the music of Bo Tae-pyeong and Jeong Dae-up. While the Jongmyo Jeryeak is played, it is accompanied by a literary figure, Bo Taepyeongjimu (honor of the kings' virtues) and a martial artist, Jeong Dae-upjimu (praise of the kings' exploits).

Jongmyo Jeryeak was originally created for use in the royal banquet in 1447 (the 29th year of King Sejong's reign), and has been handed down to this day after being repaired in accordance with the 10th year of King Sejong's reign (1464). Eleven songs by Bo Tae-pyeong and 11 by Jung Dae-up are played at the Jongmyo Daeje, which is held on the first Sunday of May every year.

Jongmyo Jeryeak is the essence of court music, which combines instrumental performances, songs and dances of the Joseon Dynasty, and has a unique style and beauty that can not be seen in other countries while well showing our Cultural traditions and characteristics.

The National Intangible Cultural Property No. 1 Jongmyo Jeryeak is currently listed as a representative UNESCO Intangible Cultural Heritage of Humanity.

Namsadang Nori was played by Namsadangpae, a wandering entertainer consisting of at least 40 men, including the puppet (head) from the late Joseon Dynasty to the 1920s, mainly for the working class.

Namsadang Nori was a folk play that was born naturally in the common people's society, and it was not free to perform in the village due to being persecuted by aristocrats.

Namsadangpae consists of a hwaju, who plans a performance at the peak of the puppet, a dungsoe, a playmaker, a rookie, an older monk, and a backman, but Namsadang Nori consists of pungmul, Verna, Salpan, Eoreum, Deobogi, and Dulmi.

Pungmul is a kind of nongak nori, and it can be seen as a play to attract spectators by announcing the start of the performance.

Verna, similar to Chinese dish spinning, is a feat of spinning a wheel or bowl to a stick or a pipe.

Salpan is a land talent like today's tumbling, which means that if you do well, you'll die if you don't do well.

Eoreum was used only in Namsadangpae because it was as difficult as walking on ice as walking cautiously, but more and more people began to use it.

Seotboogi is a kind of mask play with a mask on. Dulmi, which extends to puppet shows, is called puppet play, Park Cheomji play, and Hongdongji play, depending on the important characters in the puppet show. In particular, puppet play has been handed down to this day, and it is of great historical significance that Namsadang play is the only traditional Korean puppet play.

Namsadang Nori, which originated from the working class and was performed for the working class, was used to criticize and solve the immorality of the Korean and aristocratic communities that were treated poorly by the society at that time and to awaken public awareness.

Pansori is a traditional Korean genre of epic musical storytelling in which a sorikkun (single performer) presents a long narrative work comprising sori (singing), aniri (lyrics), and neoreumsae (gestures) to the accompaniment of a gosu (drummer). While its exact origin is unknown, some scholars believe that pansori developed during the reign of King Sukjong of the Joseon Dynasty on the basis of Chunhyangga, which was composed by Yu Jin-han in 1754, while others trace its origin to an entertainment mentioned in a document dating back to the early days of the Joseon Dynasty. Still others argue that it dates back to Silla, where folk entertainments called pannoreum were widely performed. The musical accompaniment of Pansori consists of a variety of rhythms called jinyangjo, jungmori, jungjungmori, and hwimori. The drummer accompanying the singer breaks out into shouts of praise and encouragement, such as “Great!” and “Perfect!”, known as chuimsae, at the appropriate endings. During the reign of King Sunjo (1800-1834) of Joseon, there were eight masters of pansori, including Gwon Sam-deuk, Song Heung-rok, Mo Heung-gap, Yeom Gye-dal, Go Su-gwan, and Sin Man-yeop, each of who played a key role in the development of the musical genre into the form we know today. The current tendency is to divide Pansori into the following three schools: Dongpyeonje, which developed in the northeast area of Jeolla-do; Seopyeonje, which developed in the southwestern region of the peninsula; and Junggoje, which developed in Gyeonggi-do and Chungcheong-do. In its early stage, there were twelve great Pansori works, including Chunhyangga (Song of Chunhyang), Simcheongga (Song of Sim Cheong), Sugungga (Song of the Rabbit and the Turtle), Heungboga (Song of Heungbo), Jeokbyeokga (Song of the Red Cliff), Baebijang taryeong (Song of General Bae), Byeongangsoe taryeong (Song of Byeon Gang-soe), Jangkki taryeong (Song of the Cock-Pheasant), Onggojip taryeong (Song of the Miser Onggojip), Musugi taryeong (Song of Military Officials), and Gangneung maehwa taryeong (Song of Plum Blossoms of Gangneung), which were much shorter than the five works remaining today, namely, Chunhyangga, Simcheongga, Sugungga, Heungboga, and Jeokbyeokga. These five Pansori works have been designated as Important Intangible Cultural Heritages by the Korean government and are performed widely across Korea by various performers, including the following select group of government-acknowledged masters: Kim Yeo-ran, Kim Yeon-su and Kim So-hui (Chunhyangga); Jeong Gwon-jin (Simcheongga); Park Nok-ju (Heungboga); Jeong Yong-hun and Park Cho-wol (Sugungga); Park Dong-jin, Park Bong-sul, and Han Gap-ju (Joeokbyeokga).

Cheoyongmu is the only dance performed at the Royal Court with a human face mask. The performance is based on folklore about Cheoyong, who is said, during the reign of King Heongang (r. 875 – 886) of Unified Silla, to have driven away an epidemic-spreading deity about to touch his sleeping wife by singing a song composed by him and dancing.

Cheoyongmu is danced by five performers wearing clothes of five different colors, blue indicating the east, white the west, red the south, black the north, and yellow the center. The dance is based on the theory of five elements and yin yang, and is intended to drive away evil spirits. The dance movements are gaudy, imposing and lively, and go well with the expressions of the facials masks worn by the performers.

Until the late Goryeo Period, the dance was performed by one person but the number of performers had increased to five by the reign of King Sejong (r. 1418 - 1450) of Joseon. By the reign of King Seongjong (r. 1469 – 1494), the dance came to be performed as part of a rite held at the Royal Palace. It continued to develop until the late Joseon Period through changes in the lyric, melody, and dance movements.

Following a temporary hiatus in performance upon Japan’s annexation of Korea in 1910, the Yiwangjik Aakbu (Royal Music Institute of the Yi Household) had it performed again in the late 1920s.

Cheoyongmu is a high-level art performance, combining music and dance movements with costumes and facial masks, which depicts the virtuous and humorous minds of the people of olden days.

Dano, which falls on the fifth day of the fifth lunar month, is called Nopeun nal (High Day) or Surit nal (Day of Gods). The Dano Festival of Gangneung is one of the festivals with the longest history in the country. On that day, people held a sacrificial rite to mountain gods in Daegwallyeong Pass and prayed for good harvest and peace of the village.

There are some records left by ancestors about the relevant rites. Chugangnaenghwa, a collection of writings of Nam Hyo-on (1454-1492), contains a statement about a sacrificial rite held for mountain gods and a three-day rite held in March through May. Seongsobubugo, a collection of writings of Heo Gyun (1569-1618), tells a story about witnessing a scene from the Dano Festival of Gangneung in 1603.

Villagers believed that their village would suffer a calamity unless they held a sacrificial rite on Dano. Thus, they brought a guardian deity from the shrine of tutelary gods in Daegwallyeong Pass. They placed it along with the female guardian of Gangneung on top of an altar and held a sacrificial rite. They are said to have believed the leading tutelary god in Daegwallyeong to be General Kim Yu-sin, the guardian placed on the top of their altar to be Monk Beomil, and the female guardian to be a maid from the local Jeong family.

Locals make liquor to be served during the festival, on the eve of which they hold a sacrificial rite at the shrine in Daegwallyeong. They take a holy tree and a deity and keep them at the female deity shrine in Hongje-dong. After holding a rite of welcoming the deities in the evening, they take the deities to an altar set up at a riverside place close to Namdaecheon Stream. During the festival, people hold sacrificial rites twice a day for five days at the altar, praying for the peace and prosperity of the village.

During the festival, special events such as the following are held: mask stage play, tree swinging, ssireum (Korean wrestling), farmers’ music contest, washing the hair in water mixed with changpo (iris; Acorus calamus), eating rice cake made with surichwi (Synurus deltoids), etc.

On the day after Dano, the holy tree is burned, and the tutelary god is taken back to Daegwallyeong. This marks the close of the Dano Festival.

The Dano Festival of Gangneung is composed of a Confucianism-style rite held by officiants and a gut performed by exorcists. It is a village festival that is larger in scale than any other held in areas along the East Coast, attracting a large crowd and creating an atmosphere similar to that of an open-air market. The mask stage play, wherein actors act as those from a noble family and slaves, is a pantomime entertaining the audience.

The festival displays the spirit of locals collaborating with each other. In November 2005, it was designated as UNESCO Masterpieces of the Oral and Intangible Heritage of Humanity in recognition of its Cultural originality and outstanding artistic quality.

For the event, the village is divided into two teams: the East Team (symbolizing males) and the West Team (symbolizing females). The village will reportedly enjoy better harvest in the year if the West Team (females giving birth to children) wins.

The tug-of-war is also called galjeon, which is associated with the use of arrowroot vines for the rope. The event had been handed down as a rite held in farming provinces south of the central area of the country. At present, it is performed as part of the March 1 Cultural Festival.

The rope used for the event is 40 - 50m long. The diameter of the main section of the straw rope made in a year comes to larger than 1m; if you sit down on it, your legs do not touch the ground. Many thinner straw ropes are tied to the main section for people to tug. Each team makes its own rope, with the two ropes connected right before the event. The leaders of the two teams stand on the main section of the rope to give the necessary signals. Farmers’ music is played joyously to cheer for the people.

The event is a rite held to pray for good harvest and build a spirit of collaboration among villagers based on the belief associated with dragon and snake.☆