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K-CULTURAL HERITAGE

Everlasting Legacies of Korea

  • 1990.10.10
    designated date
    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.
  • 1991.10.19
    designated date
    The dance is a dance that sublimates the anguish and anguish of walking on the path of a clergyman, and is named as a Buddhist monk because it has a strong Buddhist color and dances in a gaseous and jangsamjang, and wears a cone hat. The main dance is similar to the salpuri dance, and the form of the dance is also a perfect solo dance.

    Gyeonggi-do-designated intangible cultural asset, Buddhist dance, is a dance that inherits the Seungmu of Hwaseong Jaeincheng People's Republic of Korea, and its origin is that Sangjwaang danced Seungmu to heal his teacher's illness and left the temple when his teacher's illness. Thus, the Buddhist dance of Jaein Chungryu includes the dance of leaving after finishing the drum play section, taking off the cone hat and jangsam, and hanging over the drum.

    salpuri dance is a dance that is performed to the rhythm of Namdo's Muak called salpuri among shamanistic music. Originally, shamans used to dance as a means of encountering gods, but were later transformed into Gyobang art by clowns and gisaengs. It is characterized by dancing with a white towel in a white jacket, a white skirt, a socks and a loose coat.

    Kim Bok-ryeon (born 1948, female) was a student of Jeong Gyeong-pa and was designated as the holder of the dance on November 25, 2002.
  • 2014.1.1
    designated date
    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.
  • 2017.1.6
    designated date
    When discussing traditional Korean dance, salpuri dance, Buddhist dance, dance dance, dance, and Taepyeongmu are mentioned as representative examples. These dances are often divided into folk dances or folk dances, and they are distinguished from court dances and ceremonial dances. Although the name ' towel dance' has been arranged earlier, it is called the Salpul dance or mouth dance at the site. The towel dance is a distinctly distinct traditional dance, and the classification, research, and preservation of it are insufficient. Therefore, Shin Kwan-chul's towel dance will play a very important role in the history of dance research.

    The towel dance was so diverse that all sons-in-law of the time, including hand gestures and foot gestures, can see all the dance moves inherent in Korean traditional dance. Another important part of the dance should be the beauty of the giraffes and the appearance of the giraffe with a smile and a wink of sarcasm, and there was no one who could not help but fall in love with them. The towel dance is a dance in which you can see the beauty of a giraffe who shows off her various talents.

    The towel dance is characterized by the use of Gyeonggi Gutgeori and Jajinmori music. The characteristic of the music accompaniment seems to be that Han Sung-joon's main stage was Gyeongseong. However, these days, people use the word "gum" attached to Sinawe in Namdo. This is because Han Sung-joon's dance is the dance of South Korea. The level of expression in which the movement of the foot, ankle movement, knee movement, hip movement, hip breast movement, head movement, hand movement, arm movement, walking movement, spinning movement, and sitting and standing movement are divided into the movement of the head, contains emotional expression that cannot be seen in other dances.

    Source Jeongeup City Hall
  • 2015.1.29
    designated date
    salpuri Dance is said to have come to this day as its title was called mouth dance, improvisation dance, and towel dance, which became common.

    According to the literature, Han Seong-jun founded the "Joseon Music and Dance Institute" in 1934, and during the first Hansungjun Dance Presentation in Bumin-gwan in 1936, he put the Bang-an Dance on the theater stage and used the name salpuri Dance for the first time.

    Since then, a full-fledged salpuri dance has gradually emerged among the public, and its artistic value has been recognized and inherited as a representative dance of the Korean people's emotions.

    On January 29, 2015, Lee Eun-joo was recognized as the holder of the cultural property.

    ※ For detailed information on the above cultural assets, please refer to the Seoul Metropolitan Government Department of Historical and Cultural Heritage (202-2133-2616).
  • 1996.3.29
    designated date
    The roots of Jeonbuk dance are mainly based on Kibang Dance, and so is Honam salpuri Dance. In particular, Choi Jeong-cheol's salpuri dance (tentative name: Choi Sun) is a dance that transformed the towel dance learned from his teacher into a stage dance for a long time. His dance is deeply rooted in the emotions of Han, and his high self-control, along with the beauty of making, solving, and freezing, illustrates the characteristics of dance.

    Choi Jeong-cheol started dancing when he was 10 years old in 1945, entered the Kim Mi-hwa Dance Research Institute in 1946, held a dance presentation for the first time at the Jeonju Provincial Theater in 1960, opened the best dance institute in 1961, and was designated as the holder of the Dojeong Intangible Cultural Property Honam Salpul Dance in 1996.

    Currently, the school is dedicated to training its students for dance transfer through its lectures at various universities and colleges, and it is firmly establishing its position as a renowned dancer, <span class='xml2' onmouseover='up2 (1535)' onmouseout='dn2('dn2(')명명명명명명명span>.
  • 2004.4.30
    designated date
    It is said that the monk danced as a member of the artillery group in the mid-Joseon Dynasty, but there is a theory that the dance originated from Hwang Jin-yi's dance to seduce an ethnic missionary. Having diverse dance moves and unique dance techniques, and the composition of the dance is also systematic, high-class, and artistic form, the dance is classified as a folk dance along with salpuri, not a ritual dance performed at a temple. The Buddhist colors of Jangsam with red lyrics on its shoulders and a cone hat are the essence of Korean dance, including the powerful Jangsam nori of Buddhist monks, outstanding foot-dimbing, and the spectacular drumming is the essence of Korean dance.

    Born in Daejeon in 1974, Song Jae-seop began to learn composition and plaque from Buddhist monks of the Jogye Order, and was taught Buddhist rituals and ritual services such as baryeong dance by Buddhist monk Park Song-am, the holder of the important intangible cultural asset Yeongsanjae. Later, Yi Maebang received important intangible cultural assets such as Buddhist dance and salpuri dance, and Yeongsanjae from Yeongsanjae Preservation Society.

    Song Jae-seop's dance is very feminine but not weak, has a delicate yet large texture, and has a simplicity that is never fancy. The dance moves, which show a calm and vital movement from toe to toe, are used to solve the destiny of Korean traditional sweets. The gesture is not made up by force, but is drawing joy from within with restrained emotions and unfolds a dance that is never rigid. Drawing concentric circles on a calm lake, it gives a sad feeling as if the current is spreading. His own world of dancing and humble attitude from the spirit of composition deserve to be described as the struggle of a man born to dance fatefully.
  • 1995.5.12
    designated date
    Since ancient times, Korean people held a exorcism rite to solve the bad luck of the year, where shamans improvised a dance to relieve bad energy, called Salpul Dance, Hutton Dance, mouth Dance, towel dance, and Jeokheungmu.

    According to legend, Dosolga of the Silla Dynasty was regarded as a butchery and apricot, and Sinawe (Namdo Muak) was associated with the family of the four monks.

    The dancer wears a hairpin with fine hair and a white skirt, and holds a white towel for stylishness and emotional expansion. He plays Sinawi on the salpuri rhythm, but dances as accompaniment to the flute, daegeum, janggu, ajaeng, and drums.

    salpuri Dance is a dance of Namdo Dance with a long history, and Kwon Myeong-hwa continues to dance.
  • 2012.5.18
    designated date
    salpuri Dance originated from the dance of relieving bad energy in the gutpan since the mid-Joseon Dynasty, and is the dance of Jungjung-dong and Dongjungjeong, which are the characteristics of traditional dances.
  • 2018.6.1
    designated date
    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.
  • 2011.6.17
    designated date
    The record shows that the Geommu (sword dance), which was in the form of a performance, was based on the legend of Hwang Chang-rang of Silla during the Three Kingdoms Period. It was performed with Cheoyongmu until the early Joseon Dynasty, in the form of a masked child dancing. Mask since King Sukjong of Joseon

    Here comes the black lady. Geommu here was established as the royal palace during the reign of King Jeongjo, and the size of the royal court was increased to suit the characteristics of the royal court. The costumes became fancy and the number of participants increased. After establishing itself as a performance event of various local traditions in the late Joseon Dynasty, the Korean traditional dance became more artistic and refined, and was spread throughout the country by the gisaengs of each local school who participated in the royal court banquet. Currently, the Gyeonggi Inspection Office, Jinju Geommu, Tongyeong Geommu, Honam Geommu, Palace Geommu, Haeju Geommu, and Pyongyang Geommu are reported.

    The gyobang sword dance, which was spread by the gisaengs, was widely performed at private banquets. Gyobang Geommu consists of various types of dance, including Hansam Dance, Seon Hand Dance, Sitting Hand Dance, Sitting Knife Dance, Sun Knife Dance, and Yeonpungdae, and includes dance moves of Buddhist dance, which are folk dances of each region, such as Buddhist dance, salpuri, mouth dance, and mask dance. It is especially important in that it is passed down as a group dance performed by many people and has less variation than the hall dance, thus retaining the original dance moves of Korean traditional dance.

    The first half of the sword dance performance is static, and the second half of the dance with a knife is dynamically combined with the dual elements of yin and yang. When it comes to space use, it has both ground propensity and dynamism that leaps upward, and actively utilizes space through various large changes.

    The characteristic of the sword dance of Gyeonggi sword dance is that there are many side-spinning men who spread their arms horizontally and turn their swords, and the movements that seem to compete with each other are more diverse than royal sword dance. In addition, yum and yangnim are unique sword dance sons-in-law of Gyeonggi Geommu.

    Han Seong-jun (1875-1941), who had a systematic framework for the inspection of Gyeonggi Province, was passed down to Kang Seon-yeong (Important Intangible Cultural Heritage No. 92), the owner of Taepyeongmu, and was succeeded by his disciple Kim Geun-hee. Currently, Kim Geun-hee has been designated as the holder of the Gyeonggi Inspection and Quarantine Service, leading the Gyeonggi Inspection and Preservation Society and conducting performances and transmission activities.
  • 1969.7.4
    designated date
    Seungmu (Monk's Dance), a dance performed by a performer in a monk’s robe, is one of the leading folk dances of the country.

    There are several theories about the origin of Seungmu: one from a Buddhist cultural history perspective, one with a view that it originated in Kim Man-jung’s novel Guunmong (Dream of Cloud Nine), and one saying that it stems from a mask play containing elders’ dance and depraved monks’ agony.

    It is said to have started to develop among gisaeng (female entertainer). The dance is completely devoid of factors associated with religion, stage play, or play for fun. The dancer’s movements are similar to those of the salpurichum (Exorcism Dance).

    The dancer performs to the tune of praying to Buddha, dodeuri rhythm, taryeong (Korean folk song), and gutgeori rhythm, jajinmori rhythm, etc., in white monk’s robe and gasa (ceremonial upper robe), white gokkal (conical hat), and elegantly raised front of beoseon (traditional Korean socks).

    The dancer displays unique gestures by whirling the sleeves to the accompaniment of piri (flute), daegeum (bamboo flute), haegeum (two-stringed fiddle), janggo (hourglass-shaped drum), and buk (drum). This is a very exquisite form of dance that expresses delicate rhythms and body movements as well as the sublimation of the feeling of joy and sorrow.