Hallyangmu is a dance drama in which a monk and a woman are seduced by dance. Hallyang refers to a nobleman who plays and eats without a certain government post.

The origin is unknown, but it was performed as a play by Sadangpae in the late Joseon Dynasty, and it was recorded in Jeong Hyeon-seok's "Gyobangga" during the reign of King Gojong (r. 1863-1907), suggesting that it was popular in the late Joseon Dynasty's. After 1910, it became popular in Kibang (Parasite).

The dance features musicians, hallyang, monks, saksi, jumo, byeolgam, sangjwa, and Madangsoe, which are composed of dance moves and clothes with different personalities depending on their roles. In the case of Hanryang, a pavilion is worn on Dopo, a pavilion is worn on the roof of the palace, and Saekshi wears a red ginseng in Mongdu-ri and a jokduri. Seung-ri wears lyrics on her acceptance and writes a small fart. The content satirizes the decadence of the Joseon Dynasty, which punishes corrupt scholars, dead men, chastity-free bride, and lazy officials.

It is no exaggeration to say that Han Liangmu is the epitome of men's dance because it is the first dramatic dance that was played in the gisaeng world among Korean mask dramas, and it retains dynamism and masculinity. It is also meaningful in that it is not a dance of the royal court, nor a pure folk dance, but a dance drama of the Gyobang class. Kim Duk-myung, the owner of the entertainment show, and six others are continuing their careers.

In Masan Happo, there was a jochang that continued to the Goryeo and Joseon periods. The village, which was developed based in Jokchang, became more prosperous with the opening of the port, and the city developed rapidly. The development of the city and the characteristics of the jokchangji developed a lot of entertainment entertainment entertainment, and the safety of the navigation and navigation of the ship became the conditions of the residents' lives, thus generating the corresponding faith.



In 1894, due to the abolition of Cho Chang, the Seongsin Daeje, which lost its foundation for victory, was temporarily suspended. Then, in 1904, there was a disaster of a heavy rainstorms in Masanpo. As a result, Sungshin Daeje, which was led by a group of fish market visitors, was revived as a market system from 1905.



During this period, a new fishing market was established, and a folk rite called "Byeolsindaegi" was held.Since then, the Holy Spirit Daeje failed to maintain its status as a regional festival, and only the system was maintained around the Suhyup Brokerage Association. Originally, the system was mediated every five years and periodically implemented every ten years. Currently, only the basic form is maintained every year.



In 2006, the Masan Cultural Center promoted the succession and preservation of the Holy Spirit as part of a project to excavate local culture, and now the Seongsin Daeje Preservation Association has formed and succeeded it. The foundation of the great empire was based on the articles of The Jung-gu Ilbo in 1928, the Masan Ilbo in 1954, and the oral materials of Kim Jun-yeong, the last high priest in 1954.

Nongyo is a song that is sung to forget fatigue and improve efficiency while working on rice paddies and fields, also known as "deulsong" or "farming sound." As one of the local folk songs, it can be sung individually or collectively and may vary depending on the region.

Gongsan Nongyo is a labor song, and when a singer sings first, farmers receive backstabbing and sing. The contents include a song for fishing (wooden song), mangga song, dorigae, threshing song, mochi song, rice planting song, and so on. Eosong is a song that is sung when cutting down trees or when they are in full bloom. Mochi is a song that is sung when steaming rice seedlings and planting rice seedlings. Rice harvesting is a song sung while hanging rice paddies. Women participate in mochi and rice planting songs, and although there is a clear difference in the rhythm of each type of song, the songs used for fishing and rice planting are the same. Currently, the dure and mill have disappeared and only the song is being told.

Gongsan Nongyo was designated as an intangible cultural asset to protect and inherit it as a folk song with a young local color with the sorrow and joy of simple farmers. Song Moon-chang, an entertainment holder living in Daegu, continues his career.

Pansori refers to a singer who intertwines a long story by mixing a spear (sound), a horse (anirli), and a gesture (a shape) to the rhythm of a drummer. Pansori was famous for eight pansori singers from around 1834 (the 1800-1834), including Gwon Sam-deuk, Song Heung-rok, Mo Heung-gap, Yeom Gye-dal, Gosu-gwan, and Shin Man-yeop. They developed their rhythms and tunes as they are today. They were divided according to regions such as Dongpyeonje (northeast of Jeolla Province), Seopyeonje, and Junggoje (Gyeonggi and Chungcheong Province).

At the time of pansori, the length of one yard was not that long, so it was called the twelve madangs of pansori. Currently, only five madangs of pansori, five madangs of pansori, Chunhyangga, Simcheongga, Sugungga, Heungbo, and Jeokbyeokga, are handed down.

Chunhyangga is one of the five madangs of pansori, and after Lee Mong-ryong, the son of Vice Minister Namwon, broke up with Chunhyang, the daughter of Toeggi Wolmae, Chunhyang refused to accept Namwon's new Sato and saved her from being imprisoned. The Dongchoje Chunhyangga (Chunhyangga, which was composed by Kim Yeon-soo, a member of the Dongcho Festival) is based on the Jeongjeongryeol's Chunhyangga (Chunhyangga, which was compiled by Jeong Jeong Jeong-ryeol). But there is a slight difference in content. The Dongchoje Chunhyangga, like other Chunhyangga, is largely divided into a hundred-year-old medicine, separation, flood, and reunion. Unlike other Chunhyangga from the beginning, however, it began with the Jeongjeongryeolje The dune (a pansori section where the words and sounds were newly created or refined by Pansori's master singers), and added the old deers such as "Kisanyeongsu" and "Sansetaryeong," which are not in the Jeongjeongryeolje, the heavenly character, the love, the gisaengyeon, and the gisaengyeon. A full-time priest, a blind man's uniform, and a widow's appearance were added to the list.

Currently, Bang Ya-soon, the owner of the entertainment show, continues the tradition of the Dongchoje Chunhyangga.

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.

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.

Depending on the shape of the rite, it can be divided into seongut and seatedgut. Sakyamuni's Gut refers to a general rite performed by a shaman, while Sakyamuni's Gut was named after a shaman sitting in the Chungcheong area reading the scriptures.

Sajingut, which is believed to have historically been formed by interrelationships with other religions such as Buddhism and Taoism, has a long history as a branch of Korean shamanism with the addition of dance to the rite. The Chungcheong area, centered around Daejeon, has a strong tradition of sitting-gut, making it the only shamanistic area in Korea.

Seating Gut in Daejeon has Antaekgut, Madgut, and Seolgyeong, and the owner of Antaekgut and Madgut is Sinseokbong, which is reproduced in the way it was practiced in the 1940s and 50s. Song Sun-ja, the owner of Seolkyung's entertainment show, has been engaged in martial arts since 1977, and has been taught Seolkyung and other sitting gut for 15 years by the late Hwang Ha-cheong.

Farm music performed when farmers are working while helping each other, by forming a cooperative farming team, in a broad sense, refers to music performed when people march, work, hold ceremonies, and enjoy games while beating small gongs, gongs, hourglass drums, and drums. The performers are called gut, maegu, pungjang, geumgo, or chwigun.

All performers play musical instruments while wearing hats. In Pangut (entertainment-oriented performance), the chaesangmo game makes a fine show. On the other hand, paljinhaesikjingut, a military game, looks unique. Its beat is fast, powerful, and exciting.

Jinju Samcheonpo Nongak, a successor of pangut, has higher artistic value. In Paljinbeop, Beokku Nori, sangsoe (leader of the farmers’ music troupe), and Mudong Nori (kids sing and dance), individual skills are excellent.

Jultagi was mainly performed on special holidays like April 15, Dano (5th day of the 5th lunar month) and Chuseok (Harvest Moon Festival on the 15th day of the eighth lunar month). Tightrope clowns also performed for payment at private parties.

There were two types of Jultagi performance, one for entertaining people of the noble class performed by exceptionally skilled clowns, and the other for commoners with the focus on gags and entertainment. Jultagi performance was comprised the tightrope clown, jokers, and the players of instruments like piri (flute), jeotdae (bamboo flute), haegeum (two-stringed fiddle), buk (drum), and janggo (hourglass-shaped drum).

The rope was about 10m long and 3m high. The feat was performed usually by a well-trained man. A folding fan or a towel held in the clown’s hand was for balancing the body. The instrumental players brightened up the atmosphere. The clown entertained the spectators by displaying ten-plus movements on the rope, in addition to singing or telling jokes about depraved monks or noblemen, displaying foolish acts, or imitating a woman applying facial makeup.

This ritual is held biennially in Tongyeong and Geojedo Island to pray for the peace of the village and abundant fish. This ritual features the exorcist’s beautiful songs and inclusion of buk (drums) among the accompanying instruments. Unlike its cousin held in villages along the East Coast, this one is carried out in a serious atmosphere with few gags exchanged between the exorcist and music players or in the narratives. In some instances, spectators and drummers act out a play in the middle of the ritual.

The exorcist’s dance performed along with the ritual in most cases is rather simple and monotonous. Cheongsinak (music to invoke the deities) and Songsinak (farewell music to the deities) are performed respectively at the start and end of the ritual, to the accompaniment of daegeum (bamboo flute).

This ritual has little entertainment value and involves not many narratives, but it goes long on the depth of belief in deities.

Jigyeongdajigi refers to the work of building a new house. It is a cooperative labor where the people of the neighborhood gather together, and it contains a sense of chasing and blessing disasters. Sangnoji jigyeongdajigi can be seen as originated from the traditional life of agricultural society beyond the simple meaning of turdajigi.

The Cheorwon Sangnoriji Gyeongdajigi can be divided into three fields: ritual, jigyeongdajigi, and yeoheung nori. Proposal is a shamanistic ritual that aims to prevent the anger of the intellect that can be caused by touching the ground before engaging in a war of nerves. Jisin is active only at night, so he lights a torch in the evening, and the owner becomes Jeju, reads a congratulatory message and performs a rite. After the ritual, people who participated in the jigyeongdajigi put the jigyeongdol in the middle and hold the jigyeongjipjari line and strengthen the site. As you iron out the horizon, you sing the labor songs of the jigsaw and phlegm, and the first paragraph of the song is about the origin of the region, the environment of the house, the history of the landlord, and so on, and so on, improvising according to the circumstances. When the jigyeong daggi is over, it leads to a play of entertainment and plays with alcohol and food until late at night.

The Cheorwon Sangnori Gyeongdajigi offers a glimpse of the traditional folk culture and tradition of agricultural life.

Nalmoe Book Dance is a drum dance inherited from the Bisan-dong area of Daegu. The exact origin is unknown, but the mountain was called 'Nalmoe' because it was a mountain that fell to the ground and became a garden after being struck by a woman's scream. In the past, when a local government official died, the people danced drums in spring and autumn to commemorate it.

The Nalmoe Book Dance wears a white trouser jacket, a navy blue combat uniform, and a white band around its head. Only drums are used as musical instruments and dance to Gyeongsang-do's signature deotbaegi rhythm (gutgeori rhythm). The production process consists of Dengdeokgungi, Jabandeukyi (Banjikgut), Jabandeukgi, Tadaegi, Hehegut, Modumgut, Salpugut, and Deutbaegi dance.

The Nalmoe Book Dance is a folk dance that shows a cross-section of the lives and emotions of our ancestors, and the entertainment owner Yoon Jong-gon continues the tradition.

As nongak (farmers’ music) that has been handed down in Pilbong, Imsil, Imsil Pilbong Nongak belongs to Honam Jwado Nongak (Farmers’ Performance of the Western Jeolla-do). Simple farmers’ music such as that performed on occasions like dangsangut (rite to village guardian) or madang bapgi (treading on the courtyard) had been handed down in this village. The music is said to have become sophisticated around 1920 when the villagers started learning the performing skills from Park Hak-sam, who served as sangsoe (leader of a farmers’ music troupe). The members of a farmer’s music troupe wear white jacket and trousers, with blue vest over the jacket and bands in three colors tied to the head. As for the headgear, only the soejabi (gong player) wears sangmo (hat with feathers or strings attached); others wear gokkal (conical hat). A farmer’s music troupe is composed of yonggi (dragon flag), nonggi (farmers’ flag), long soenabal (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), japsaek [referring to a group composed of yangban (nobleman), daeposu (drummer), jorijung (masked clown), changbu (male clown), gaksi (young girl), hwadong (young girl) and mudong (dancing boys)]. The local farmers’ music has many versions according to different occasions: maegut (village ritual held on New Year's Eve on the lunar calendar), madang bapgi, dangsanjegut (rite to village guardians), duregut (performance for villagers’ unity), and pangut (entertainment-oriented performance). Among them, Pangut showcases the best artistic quality. The Yeongsan rhythms contained in the local farmer’s music in Imsil are slow with have many variations, such as gajin yeongsan, dadeuraegi yeongsan, mijigi yeongsan, jaeneomgi yeongsan, gunyeong nori yeongsan, etc. The local farmer’s music in Pilbong, Imsil features clear-cut rhythms of kkwaenggwari (small gongs), powerful/gallant rhythms, and emphasis on teamwork rather than individuals’ skills.

In this performance, an exorcist disguised as an ox prays for a good harvest, good commercial business, and success for children. It is presumed that the performance started during the Joseon Period (1392 – 1910). This performance is preceded by Jeseokgeori (Ritual Song for the Deity Jeseok) that is said to control things relating to longevity, grains, clothes and fortune/misfortune. It used to be held in Giho and Haeseo, Hwanghae-do. The performance starts around sunset and continues until the daybreak of the following day. Six female exorcists play janggo (hourglass-shaped drum), jing (large gong), jeo (bamboo flute), and piri (flute). Eight fabric straps are hung from above indicating the path through which Eight Heavenly Maids will descend. At the bottom of the fabrics are placed eight tubs, where the fairies will take a bath. An exorcist disguised as Sambuljeseok (Three Heavenly Deities) in a white robe and a hat sings a song about how he arranged the foundation of Joseon as instructed by the Jade Emperor of Heaven. By this time, a cowman appears, leading a cow. The performance ends with a scene of the deity Jeseok taking a trip to Seocheon Seoyeokguk (ancient India), while patrolling officers engage in a round of dance. Buddhist deities appearing in the performance, including Sambuljeseok Buddha, are a unique sight that cannot be found in any other exorcism performances. Pyeongsan Sonoreumgut (Shamanic Ox Performance of Pyeongsan, Hwanghae-do) was able to be maintained thanks to Jang Bo-bae, an exorcist from Pyeongsan, who continued the performance after the country’s liberation. As an event strongly influenced by Buddhism, the performance also combines elements of entertainment and high artistic quality. It serves as an occasion to pray for the happiness of local people and to strengthen the ties among them.

Nongak is the music played by farmers when they squeeze their dure and play percussion instruments such as kkwaenggwari, Jingo, Jango, and drum. According to the purpose of performing nongak, the types can be divided into Dangsan Gut, Madang Bapgi, Gulip Gut, Duregut, Pangut, Kiuje Gut, and Baegut. If classified according to regional characteristics, they are divided into Gyeonggi Nongak, Yeongdong Nongak, Honam Jwado Nongak, Gyeongnam Nongak, and Gyeongbuk Nongak.

The nongak of Jeollanam-do can be largely divided into Jwa-do, Udo, and Seobuan-gut, based on the manner of the procession, costume, and musicality. Among them, Jwa-do-gut is a nongak developed in the mountainous region of northeastern Jeollanam-do, and has the characteristics of excellent group play and fast rhythm and movement. So, while focusing on the top play, the bottom play Goodpap gives the impression that it is light and continuous. Hwasun Hancheon Nongak belonged to Jwa-do-gut and was handed down about 200 years ago. Chagut is particularly well developed.

Currently, Noh Seung-dae is recognized as the holder of entertainment in Hwacheon Nongak.