Gudeok Mangkeuttajigi is a traditional folk song that includes the work of building a fence or pillar using a tool called Mangkeul to build a large building or house, and the song of labor (mangkeum) sung by a singer in the process.

Manggae are made by tying four to five handles or strings of wide stones or shits, and Busan uses wide stones, unlike other places. When the workers pull the rope up and let it go, the manga hits the ground and becomes more and more solid. As such, ironing the ground with a manga to strengthen the site is called a manga, and the sound called to relieve the fatigue of labor and to keep in step with the efficiency of work is called a manga.

The Gudeok Mangkeot Dajigi, which runs around Daesin-dong, Seo-gu, is of great folk value as it still has the old image of the work process of ironing the site with mangkae and mangkae, which are tools for ironing the site in traditional architecture, and the sound of mangkkeum is also valuable as a labor song in Busan.

San Joaeng is a musical instrument created by the originality of the Korean people, and Sanjo is also a music that can be designated as a World heritage Site just like Pansori. Sanjo, which is rooted in shamanism and pansori, retains the history and tradition of the Korean people, and has become highly professional and artistic through the formation and development process of Sanjo.

Currently, the Ajaeng Sanjo is not designated in any City or province in the country, and Park Yong-tae's Sanjo, based in Busan, has very few people who wish to be transferred due to the lack of a base population. In addition, due to economic and learning difficulties, effective transfer of young people, including early transfer, is not possible, and preservation is in danger.

Park Yong-tae is a first-generation apprentice to Han Il-seop, the founder of Ajaeng Sanjo. Park Yong-tae's genealogy, along with other masters of the same-literature Korean classical music, is clear and the legitimacy of the melody is beyond question. It is no exaggeration to say that his musical skills and standards are unrivaled, and he is performing extensively on stages across the country, as well as in Busan and the Yeongnam region.

Park Yong-tae's "Ajaeng Sanjo" (Park Dae-sung-ryu) has a lot of Ujo-seong rhythms, unlike ordinary mountains. In other words, the ordinary mountain bird is composed mainly of surfactant rhythms, giving the impression of pleading and purring, while the Park Dae-seong's Ajaeng Sanjo has a strong and magnificent feeling. This musical feeling is in line with the musical characteristics of Menarijo, a musical characteristic of Gyeongsang-do. Therefore, the Ajaeng Sanjo of Park Yong-tae (Park Dae-seongryu) can be seen as having enough of the characteristics of life of the people of Gyeongsang-do.

Currently, he is transferring from a new building to a new building located in the former Dongnae area of the Dongnae-gu Hot Spring Park. Dongnae Kwon Bun was a popular attraction where master singers from all over the country gathered to inherit the tradition of Korean traditional music in Busan after Japanese colonial era.

One of the folk games handed down in Dongnae area is a form of folk belief-like village exorcism that soothes the spirit and repels evil spirits.

Jisinbapgi is a kind of mask parade that has been performed on the fifteenth of lunar January for a long time. It is religious to pray for the peace of the village and family and to pray for a good harvest of the year. The current Dongnae Jisinbapgi was reconstructed from the late Joseon Dynasty into a circular shape and refined into a folk game from around 1970.

Dongnae Jisinbapgi prepares musical instruments, costumes, and tools in December of the lunar calendar, and it is composed of 35 people from all classes of Joseon Dynasty, including four daebu, catcher, Hadong, and Gaksi, to practice playing. The nobleman is qualified for general command, and Hadong and the catcher serve as the counterpart to boost the excitement. The humorous lines of Hadong and the catcher against the nobleman contain satire that ridicule the nobleman.

The play consists of the four madangs of Jusan Jisinpuri, Dangsan Jisinpuri, well Jisinpuri, and Saengwonjipnip Jisinpuri. They hold ancestral rites in Jusan and Dangsan, and then come down to the village to hold a rite in the village well spring. Finally, Jisinbapgi is performed from house to house. If you step on the authority, the landlord offers liquor, grain, and money as examples, and grain and money are spent on joint projects in the village.

Unlike other folk games, which focus on pungmul nori, Dongnaeji Sinsinbapgi is characterized by a gutgeori rhythm and a deobaegi dance. Currently, the Busan Folk Arts Preservation Association and Jeongsu School are striving to transfer and distribute the art.

Buddhist paintings mainly produce tangs for worship and enlightenment, which express Buddhist doctrines in a conversational way.

The 15th intangible cultural heritage of Busan, Gwon Yeong-gwan, is a Buddhist cremator who clearly proves his relationship with the Buddhist monk. His father, Kwon Jeong-du, was transferred from Yang Wan-ho, a great Buddhist mother who left many Buddhist paintings in Gyeongsang-do, including Busan, in the early 20th century, and produced outstanding Buddhist paintings and sculptures nationwide, while Kwon Yeong-gwan was transferred from his father again.

It was first introduced in 1962 and has been engaged in the production of tangs for 46 years in Busan. In 1972, he won the Excellence Prize for painting in the Buddhist Painting section of the 3rd Buddhist Art Exhibition hosted by the Jogye Order of Korean Buddhism, and won the Best Prize in the 4th edition in 1973, and the 5th edition in 1974, the following year, he won the Special Prize.

In addition to Buddhist temples in Busan such as Beomeosa and Samgwangsa Temple, there are more than 50 of his major works enshrined in Buddhist temples across the countrywide. In his writings, eight passers-by are currently working to pass on the function of Buddhist painting production.

In addition, the traditional methods of making Buddhist scriptures are faithfully followed by the traditional methods of making them, along with the ability to embody the contents of Buddhist scriptures in Buddhist scriptures. On December 16, 2008, it was designated as Busan intangible cultural Property No.15.

Dongnae Hanryang Dance is a men's dance with a strong local color of Dongnae and a unique dance rhythm. This dance has been performed by local hallyangs since ancient times, and the overall dance is based on Deobaegi and Bae Kimsawi, both of which are introduced in this area.

It does not have a fixed form of dance or composition, but it is characterized by a combination of yard dance and gibang dance, along with a relaxed dance as a male dance with bold lines, centered on Hutton dance (mouth dance), a personal dance that is improvised when the excitement is heightened.

Originally, the dance was performed by the customs officials of the Dongnae area and the Hanryang who entered and entered the room, so it is an artistic dance that is not vulgar and elegant, and at the same time improvised and personal. It is also a mouth dance that is performed in a small place called Kibang, so it is a dance with delicate movements along with individual creativity.

Jang Mun-won, the holder of the Dongnae Hanryang Dance, is the last dancer to come and go in Dongnae Station, and is a representative dancer of Dongnae, such as Nonghyun's dance moves.

Although the contents of accompaniment music can be expressed differently depending on the dance moves in different regions, considering the historical nature of the dance performed by Hanryang in Gyobangcheong and Kwonbeon, it can be seen that the dance is usually performed in Sinawi rhythm that suits the local characteristics.

Dongnae Hanryang Dance, based on the basic form of Dongnae Seotbaegi Dance, is a folk dance with a very important meaning in that it is the basis of all the male dances in Dongnae area as a prior entertainment of Dongnae Yaryu's yangban dance, gutgeori dance, mouth dance, and Dongnaehak dance.

The Bottom Sailboat Shipyard was designated as Busan intangible cultural Property No. 25 on December 28, 2016, and refers to the craftsman who makes the Bottom Sailboat, a traditional boat of our region.

Kim Chang-myeong, the owner of the lower sailboat shipyard, has been working as a family business for four generations since his great-grandfather's birth, and has built more than 100 wooden ships including Hwangpo sailboat, ferry boat, and Sogu engine boats near the mouth of the Nakdonggang River.

Hwangpo Sailboat by Kim Chang-myung is one of the symbols of the history of the Nakdonggang River, and it has important meanings in terms of the linearity of traditional ships and the development of manufacturing techniques, wooden boat-making tools, and understanding of the life culture downstream of the Nakdonggang River.

The lower sailboat, which is a Hwangpo sailboat at the bottom, is 25 to 35 long (750 to 1,0050 cm), 5.5 to 7 wide (165 to 210 cm), and 2.5 to 3.5 deep (75 to 105 cm) since the end of the Han Dynasty. Another large sailboat remains, and waterways near Samrangjin and other waterways. Among them, the large sailboat that traveled to and from the upper reaches of the Nakdonggang River almost disappeared in 1970 with the opening of the Gyeongbu Expressway and the construction of bridges to cross the river. The sailboat near the mouth of the Nakdonggang River disappeared in the mid-1980s when the composite resin (FRP) line was supplied and the estuary bank was constructed. Recently, local governments have maintained their reputation as a sailboat occasionally manufactured for tourism, so it is necessary to designate the lower sailboat shipyard as a cultural asset to preserve it.

Since 1973, Bae has been engaged in the production of Dongnae Traditional Kites and kite flying for more than 40 years. Bae Moo-sam was confirmed to have continued the succession of Lee Soo-yong and Han Tae-jeong in the field of Dongnae Traditional Lanterns as the late Dongnae Yaryu owner Jang Mun-won testified in his lifetime that he had been taught the production function of Dongnae Traditional Lanterns by Han Tae-jeong and Park Yun-su for more than a decade.

Korean traditional kites can be largely divided into 'Bangpaeyeon' and 'Gaoliyeon'. Although Dongnaeyeon is not much different from traditional kites, Dongnae area with the sea is a place with strong winds in winter, so the standard of kites is made in the ratio of 2:3, 5:7, and 7:9, which is golden division shape. The kites are placed in two layers, are round, and the kites are not flat, and the lotus is shaped like a circle to make the light.

Bae Moo-sam has his own unique traditional kite production function and is fully qualified to designate and recognize intangible cultural assets designated by Busan Metropolitan City, as he has a distinct family tree, and is producing 'Meoriyeon' with a red and black 1/4 won painting on the tail of the kite.

Suyeongji Sinsinbapgi is a folk game that was held on the fifteenth day of the first lunar month, as well as a ritual to pray for the safety of the village and the welfare of the residents by visiting the Gaga Lake in Suyeong-dong more than 250 years ago.

The participants are 30 musicians and 21 mixed colors, followed by Dangsanpuri, Wellmulpuri, Insagut, Madangbapgi, Seongjupuri, Jowangpuri, Jangdokpuri, Gokganpuri, Jeongnangpuri, Sapjappuri, Pannori, and Jegigakje. The melody is elegant and deep, and the sound is less sour than other regions, which clearly reveals the sound path of the Manarijo in Gyeongsang-do.

In particular, the ritual for burning paper flags at the end of every ritual is held, which is a kind of ritual for burning the liquid while burning the flags used for the last jisinbapgi after all the rituals, and it is also a characteristic of Suyeong alone that the folk religion with ritualistic characteristics was more prevalent than other regions. In addition, the holders of the musical instruments are also highly skilled, consisting of professional entertainers such as Suyeong Yaryu.

Busan Gijang Ogugut is a memorial rite (Cheondoje) for the souls of the dead. It has a family rite and a room rite, and it consists of twelve streets, from Jeongjeonggut to Siseok. The dense blend of Buddhist contents and colors, such as salt Buddha, sophora, jasam, and rhythm, has a unique characteristic that can be compared with the Buddhist ritualistic style, and shows the unique historical perspective of Koreans.

Along with the private pool of Haewon and Cheorwon, it is an important cultural and artistic heritage that provides unique characteristics of the region along with the universality of the Korean culture and arts, as it has the unique life and dance spirit of Korean shamanism, which invokes the spirit of Salpuri, the extreme form of singing, dancing, and various shapes, and sends death.

Muui and Muga holders Kim Dong-eon has a clear lineage of succession, and has outstanding skills in Ogugut's unique private pool, as well as outstanding skills in Ogugut's unique private pool, while Kim Dong-ryul, a holder of musicians and Jihwa production, is paired with Kim Dong-eon in musical performance and rhythm, and is fully qualified as a holder in the production of Jihwa, Yongseon and Mugu.

☆ Chungnyeolsa Temple is home to 91 officials, soldiers, and people in Busan, including Song Sang-hyeon, an official of Dongnae who died while protecting the country during the Japanese Invasion of Korea in 1592. In the third year of King Hyojong's reign (1652), Yun Mun-geo, an official of Dongnae, held a memorial service in the second and eighth lunar months under the auspices of the Anrakseowon Confucian Academy, which was built to honor Song Sang-hyeon's studies and loyalty.

The incense of Chungnyeolsa Jehyang was originated from the construction of Songgongsa Shrine, which was built on Nongjusan Mountain outside the south gate of Dongnaeeupseong Fortress, in the 38th year of King Seonjo's reign (1605). In 1652, Yun Mun-geo built Anrakseowon Confucian Academy and renamed Songgongsa Temple into Chungnyeolsa Temple because of the narrow construction and and the loudness of the temple near the gate. Since then, the Chungnyeolsa Jehyang has continued for more than 350 years to this day.

Chungnyeolsa Temple honors the spirit of patriotic martyrs who died while defending the country, including the officials and the county governor, as well as the servants and the concubines belonged, which are not seen in other regions, and it is rare for female priests to participate in the memorial service. It is also characterized by the fact that the ancestral rites have been held in accordance with the old law for many years.

☆Nongak is the music played by farmers during work time and play percussion instruments such as Kkwaenggwari, Jing, Janggu, and Buk.

According to the purpose of performing nongak, the types can be divided into Dangsan-gut, Madang Barpgi, Geolip-gut, Dure-gut, Pan-gut, Giuje-gut, and Bae-gut.

With regional classifications, they are divided into Gyeonggi Nongak, Yeongdong Nongak, Honam Udo Nongak, Honam Jwado Nongak, Gyeongnam Nongak, and Gyeongbuk Nongak.

Busan Nongak, a type of Gyeongnam Nongak, is mainly composed of Geollip-gut, which takes turns playing nongak at the beginning of the first lunar month, and praying for blessings. Compared to other nongak, it has a lot of gutgeori rhythms and dances in four beats slower than other nongak. It has excellent functions of spinning sangmo and beoggu nori, and the four buks are matched and the technique of holding the buk is excellent.

Nongak, which has been connected with the history of the people, is a long folk belief of Korean people, and should be preserved as a traditional folk art that combines dance and rhythm.

Currently, the Busan Nongak Preservation Association is striving to pass down and distribute the music.

☆In Suyeong-gu, Busan, a local government called 'Nongcheong' was established to promote production by enhancing the skills and cooperation of farmers. As the farming practices and the following farming practices disappeared due to rapid urbanization, the farmers played nongak(music of farming), sang nongyo(folksongs of farming), and played the farming process.

In Suyeong Nongcheong Nori, two men and women sing full songs one by one when the farmers gathered by the collective signal, arranged in the order of farming implements, farmers, and wives, and the whole group dances to the Nongak rhythm and enters an amusement park symbolized as a workplace. After planting rice in the order of spading, pulling out of seedling, rice planting, and threshing in accordance with the farming process, male farmers play rice paddies, divide them into east and west, and play cow fights, and leave after a long time.

In urbanized Suyeong, the reproduction and theatricalization of the work centered on agricultural songs sung by agricultural officials is not only meaningful in that it inherits the folk songs of the Busan area, but also in that it inherits the spiritual legacy of the ancestors' cooperation, unity, and hard work.

☆Sagijang refers to a person who has the ability to bake a china bowl at a high temperature of more than 1,300°C by mixing various soil.

The late Kim Yun-tae, who was the owner of Sagi-jang, was a man of Mungyeong. Mungyeong was widely distributed with red clay, white clay, sajil clay, and pottery, and the water in the valley was good, so around 1700, when artisans who had crossed over Mungyeongsaejae Hill settled down and mainly produced tea cups and semi-phase machines. The Galjeonyo of Mungyeong was a kiln run by Kim Yun-tae's grandfather, and was succeeded by Kim Jong-seong, Kim's uncle, although there was a few years of absence from the post-liberation period until the Korean War.

The production of traditional Korean ceramics can be largely divided into the divisional atomizer operated by the government and the privately owned porcelain that originated naturally in various parts of the country during the late Joseon Dynasty. Among them, the private sector can be divided into areas where skilled sagijangs were kidnapped by Japan during the Japanese Invasion of Korea in 1592, and Kim Yun-tae inherited a kiln tradition in northern Gyeongsangbuk-do, a representative mountain area for civilian prisoners who escaped kidnapping.

Kim Yun-tae inherited the kiln from his grandfather Kim Il-bae and uncle Kim Jong-seong during the late Joseon Dynasty and produced pottery for the rest of his life. Among the fields of household porcelain and bowls were excellent.

They have the characteristics of a local kiln at the end of the Joseon Dynasty and inherit traditional techniques. In addition, the entire process of collecting clay, receiving water, making bowls, cutting, chiseling, and grilling are following the traditional production style of the late Joseon Dynasty.

Kim Yun-tae was in charge of the entire process of white porcelain production, including digging clay, pulling out the dough and air bubbles, making a lump of clay to be placed on a spinning wheel, wiping out the holes in the molded bowl, and applying glaze, as well as the role of the underwater forces in all the white porcelain production.

Kim Yun-tae did all of this, especially the traditional kiln production technology made of mangdeng (or mangsaeng) was considered the best in Korea, as few people were able to do the entire process of white porcelain production alone across the country.

Kim Yeong-gil, the eldest son of Kim Yun-tae, was recognized as the owner of sagijang in March 2015 for his ability to carry out not only his father's traditional techniques but also his family's construction of kilns and spinning wheels using Mangsaeng, and to handle the entire process of making traditional white porcelain by himself.

A pavilion was called a pavilion, meaning that the ancient characters were inscribed with an inscription on a solid material to indicate their own cover, so that they could not be altered. The engraving work started from the seal, but the Hyeonpan, Juryeon, and Jealu are all based on the pavilion, and recently, paintings including Sagunja have become an independent art.

The materials of the pavilion range from wood to stone, gold, silver, bronze, and brass, jade stones such as blue, yellow, white, and red, and porcelain such as celadon and white porcelain, ivory, auricular, auricular, a white, and blood vessels such as a godmother.

Ahn Jung-hwan, the holder of the hall, worked in the hall for more than 55 years after receiving a royal edict from his father under the rule of Ahn Gwang-seok, a renowned calligrapher and a hallkeeper. Jeon Seung-gyebo was first handed down from Chusa Kim Jung-hee, who is called the epitome of the Korean pavilion, to ideal, reverse hawk Oh Kyung-seok and Wichang Oh Se-chang, while his father Ahn Kwang-seok took over from Oh Se-chang.

His father, An Gwang-seok, was born to Hyeil, a Dongsan of Beomeosa Temple, and was granted a private education by Oh Se-chang, the maternal uncle of the village, to establish an axis of the temple. Ahn Kwang-seok's angle was strict in the tactics and flawless in the technique. Ahn Kwang-seok has long lived in Busan, including annotations from Beomeosa Temple and Daegaksa Temple, and Ahn Jung-hwan also settled in Busan earlier and worked in Busan after his father.

Besides Ahn Jung-hwan is carved in wood and Rock Carvings donggak, trees, grid magnetic angle, wood and temperament according to the type of tree according to the (銅刻, 陶瓷刻, 瓦刻, 金屬刻) will be well aware.Stone material, as well as for reading well. In addition, the traditional wooden carving tool uses the technique of weaving rice paddies together like imitation, which is a unique style that only comes down from Ahn Jung-hwan's family.

The hall is a traditional function that has sufficient value as an intangible cultural asset, with clear transfer genealogy of the holder and excellent technique for traditional pavilions, as well as deep connection with Busan.

Busan Ancient Tombs Dori Gulip was a geollip that was performed in the ancient area of Gobundori, Seodaesin-dong, Seo-gu, Busan, and was called Geolipgut because it received a little rice or money in return for wishing good fortune by visiting Gagahho Lake in the hope that there would be only good things at the beginning of the year.

Busan Ancient Tombs-ri Gulip is a traditional folk religion with a history of more than 150 years, considering that the rite was held in Dangsan, Sijaksan Mountain, a village guardian mountain of Daesin-dong, which was built around 1860.

Busan Gobundori Gulip consists of a total of 37 people, including jisu, Aksa, and Japsaek. First of all, Goha in Dangsan, visit each family to perform a well-being ritual, and then perform a ritual to pray for a good fish, and then perform a dance performance at the Pangutpan.

Busan Gobundori Gulip is distinct from other geolip Nori, such as the detailed composition of the Sungjupuri editorial, the insertion of Yongwanggut section chief, and the musical diversity of Buckunnori and Yeonhee among Seollnori. In addition, the musical composition and editorial composition of Yu Sam-ryong, Lee Myeong-cheol, and Jeong Sang-ryeol, who were the best pungmul jabs of the time, are outstanding. It is considered to be a traditional folk who actually perform geolip on the first day of the year in Seo-gu, Busan, and has sufficient folk and cultural value.