Mo Bo-kyung's master singer received the honor of her mother, Choi Seung-hee, and entered the sound naturally in an environment where she heard a lot and grew up.

Iksan Seongdang Port Village is located on the west side of the Geumgang River. It was once called Seongdangpo or Seongpo, which was the site of a cathedral window that controlled Segok from Goryeo to the late Joseon Dynasty. Visitors can feel relaxed while learning about murals, Hwangpo Sailboat, and the ecology of the Geumgang River, which reflect the history of the traditional port village.

In Seongdang Port Village, there is a Pogu Travel Program where you can experience the life of fishermen through the history of Pogu, the course of sailing along the Geumgang River, Hwangpo sailboat riding, taking pictures of Pogu, and drawing pictures of Pogu, and the Geumgang Ecological Exploration Program where you can experience life in Pogu, where the hardships and joys of the life are buried, and sorrows of the Geumgang. Especially, in the village of Seongdang-gu, Iksan-si, the habitat of Goran-cho, a rare protected plant, is located, giving you a new experience.

Cho Yong-an

- Introduction in 1981.

- Prime Minister's Award at the 1988 National High-Level Meeting

- Presidential Prize at the 1995 National High Commissioner's Congress

- Performance with Kang Do-geun, Park Dong-jin, Oh Jung-sook, Jo Tong-dal, Ahn Sook-sun, and others

A cilantro is a drummer in pansori, and as the saying goes, 'a cilantro's female cilantro' is an indispensable in pansori.

As an accompanist, the role of a drummer harmonizes with the sound through the drum beats to breathe life into the sound board, adjusts it to maintain a constant speed, and also empowers it to make a better sound through chime.

The holder of the book runs through the northern part of Jeolla-do, starting with Jeon Gye-mun and passing through Song Yeong-ju.

Chwita refers to the simultaneous playing of wind and percussion instruments. Daechwita refers to a large-scale performance of chwita and seak (traditional ensemble music played with instruments with small sound volume suited to an indoor event) to announce the presence of the King or for a parade of troops.

Chwita appear in murals dating from Goguryeo (circa 37 BC – 668 AD) and in records about Baekje (18 BC – 660 AD), which tells us that it was performed during the Three Kingdoms Period.
Chwigakgun (a military band), which originated in the Goryeo Period (877 – 1394), continued into the Joseon Period (1392 – 1910). Seak came to be included in the military band repertoire in the mid-Joseon Period.

The military band playing chwita and seak wore a yellow uniform with a blue band hung across the chest, and a straw hat. They played jing (large gong), janggo (hourglass-shaped drum), buk (drums), nabal (trumpets), sora (conch horns), and taepyeongso (conical wooden oboe). At the command of the leader, jing and buk start up and they are followed by the other players. Their playing gives a feeling of being brave, resonant, and magnificent.

After the forced disbanding of the Korean troops by Japanese imperialists toward the end of the Korean Empire (1897 – 1910), “Piri Jeongak and Daechwita” has never been played formally. Some semblance of this style of music has barely been maintained by private businesses for advertisement, or by temples for rituals, but now it is almost extinct.

Daechwita is a precious cultural heritage as the music that displays the unyielding spirit of the people of olden days.


Change in the name: Daechwita → Piri Jeongak and Daechwita (in June 1998)

Jinju Ogwangdae was passed down to Jinju's seasonal customs, but declined in the 1920s due to the Japanese national culture eradication policy. It was stopped in 1937 and was restored as a mask play in Jinju, Gyeongsangnam-do in 1998. The play was held on the evening of the fifteenth day of the first lunar month, with dance as the main theme, along with jokes, gestures, and songs. The gong, drum, janggu, jing, haegeum, piri, and salted fish are mainly played in the gutgeori rhythm, and based on the deotbogee dance, the jindung dance, the mundung dance, and the heavy dance are performed according to the character's characteristics.

The composition of the play is composed of five yards. The first is the Obangsinjangmu Madang, which is a courtyard where the Obangsinjanggans, including the Eastern Cheongje General, the Western General, the Southern General, the Northern General Heukje, and the Central Emperor, beat down all the evil spirits and evil spirits on the ground.

The second is the Mundung Madang, which is a courtyard that protects the peace and well-being of the people, such as the Eastern Cheong Tal, the Western Baek Tal, the Southern Deity, the Northern Black Mask, and the Central Hwang Tal.

The third is a yard where a servant who is well-informed as a nobleman reveals the moral corruption of the nobleman and shows that the social system of discriminating against people as a status is wrong through the process of making fun of the ignorant owner Saengwon and his friends Ongsaengwon and Cha Saengwon.

The fourth is the Jungmadang, where Somu dances hand-dancing to the Taryeong rhythm, and the dance that seduces Somu comes out with the upper seat. It is a satirical game that shows how a true life is by comparing the life of a monk with the life of a secular person, as well as the life of a monk, who is captivated by the fun of the world after coming down to the world and dancing with the nobleman.

Fifth, there is a storm between the old lady who abandoned her family and the old lady who brought her two parasites as a widow. It is a yard that shows how a woman's life and family are due to her irresponsible husband.

The masks used in Jinju Ogwangdae include Obang Xinjiang, Mundung, Eodingi, Ongsaengwon, Cha Saengwon, Maltuki, Halmi, Jung, Sangjwa, Somu, and Palseonyeo.

The pansori of Gangsanje, which was created by Park Yu-jeon, one of the eight singers of the late Joseon Dynasty, has been called in Mokpo, Boseong, South Jeolla Province, and Namwon, North Jeolla Province, and Gangsanje has many characteristics of dongpyeonje as it was created by choosing between dongpyeonje and Seopyeonje pansori.

Yoo Yeong-hae has a genealogical characteristic that leads from Park Yu-jeon to Jeong Jae-geun, and from Jeong Eung-min to Jeong Je-jin and Jo Sang-hyeon. Especially, there are many commandments, and the tone of the sound is smooth, making the listeners feel comfortable. He has held more than 10 full-length presentations, is an important intangible cultural asset recipient, and is a recognized master singer who won the Namwon Chunhyangje Presidential Award.

The Korean traditional music is composed of sijo poems (Korean traditional poetry) and sung to orchestral accompaniment. It is also called 'Sakdaeyeop' or 'Song'.

It is known that the original version of the song was not sung in the late Joseon Dynasty, when the song "Mandaeyeop," "Mandaeyeop," or "Mandaeyeop," was lost before the reign of King Yeongjo (1724-1776). The current song originated from the fast-paced song "Sakdaeyeop," which appeared in the late Joseon Dynasty, and is composed of a collection of songs that are related to the melody.

The song is divided into five chapters, with a prelude, a rental note, and a second, third, middle, fourth, and fifth chapters. Very organized and well-organized. If you look at the rhythm, there are 16 beats of slow speed and 10 beats of fast speed of "pyeonjangdan." The performance consists of Geomungo, Gayageum, Haegeum, Daegeum, Danso, and Janggu.

The song is one of the three major vocal music pieces in Korea, and is of high artistic value handed down by experts compared to the popular pansori and Beompae (a song that praises Buddha's virtues). Kwon, who lives in Daegu, is believed to be the only person in the Yeongnam region who can sing the song to the end.

Sanjo refers to the playing of an instrument solo to the accompaniment of janggo (hourglass-shaped drum), moving from slow to fast rhythm in four to six movements. Geomungo Sanjo is Korean instrumental folk music played solo with geomungo (six-stringed zither).

Geomungo, which is also called hyeongeum (literally “black zither”), is said to have been made by Wang San-ak during the Goguryeo Period (circa 37 BC - 668 AD). It has six silk strings made of twisted silk thread tied to a wooden body 1.5m long and 25cm wide. A player sitting on the floor plays it while it is placed on his/her lap the way one plays a guitar, with the left hand tuning melody with string support called “gwae” and the right hand striking strings with thin bamboo (“suldae”).

Geomungo Sanjo was first played by Baek Nak-jun in 1896 (33rd year of Emperor Gojong’s reign), but some people said that it was music that degraded the gracefulness of geomungo. Thus, it was only years later that a particular type of geomungo playing was accepted by majority of the people. At first, it was composed of monotonous melodies or rhythms; gradually, however, exquisite and complicated rhythms were added.

Geomungo Sanjo has five rhythms: jinyangjo (slow), jungmori (moderate), jungjungmori (moderately fast), eonmori (irregular), and jajinmori (fast). Overall, its melodies are made up of ujo (calm and steadfast feeling), which appears in the first and middle parts of each movement, and gyemyeonjo (sad, soft, and plaintive feeling), which appears mostly at the end of each movement.

Geomungo Sanjo is a piece of music containing a sense of subdued masculinity, featuring moderate yet grand and unrestricted feeling; its rhythms, slow and fast, express the sense of delight, anger, sorrow, and joy well.

Mask dance is a stage play wherein one person or several people wearing a mask act as a person, an animal, or a supernatural being (god), delivering a message with dialogues or dances.

Talchum (mask dance) was performed throughout the country until the early Joseon Period. When the Sandae (type of mask dance) was no longer performed in the Royal Palace, it was enjoyed as a pastime by ordinary people.

Bongsan Talchum was started in Bongsan-gun, Hwanghae-do about 200 years ago. Performed on the night of Dano (fifth day of the fifth lunar month) and Haji (Summer Solstice), it is composed of dances associated with four monks, eight monks in black robe, a female member of a troupe, an old monk, a nobleman, and an old wife. Prior to the start of the play, the 36 members of the play (27 of them wearing masks) march to the site of the play while playing music. They also hold a sacrificial rite.

The play contains satire about nobles harassing commoners, depraved monks, male chauvinism in a custom of allowing a man to take many wives, etc.

Members dance to the tune of praying to Buddha, taryeong (Korean folk song), and gutgeori rhythm songs accompanied by the playing of samhyeon yukgak (three strings and six wind instruments) such as piri (flute), jeotdae (bamboo flute), haegeum (two-stringed fiddle), buk (drum), and janggo (hourglass-shaped drum). Compared to other mask dances, this one features the frequent citation of Chinese poems.

As the best known among the mask dances handed down in Hwanghae-do, Bongsan Talchum displays the lively movements of dancers including the shaking of the sleeves of the robes.

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.

Sijo is known to have originated in the mid-Goryeo Dynasty and is a popular style of poetry during the Joseon Dynasty.Also known as 'timely song', 'timely unit song' and 'unit song'.

Shijochang became a regional feature when the tune was created in the sijo, influenced by the orchestral music such as Geomungo, Gayageum, Daegeum, Danso, and Haegeum.

Wanje of Jeolla-do and Yeongje of Gyeongsang-do, the economic and cultural festival of Seoul and Gyeonggi-do. It was divided into Naepoje in Chungcheong-do.

※For more information on the above cultural assets, please contact the Seoul Metropolitan Government Department of Historical and Cultural Heritage (☎02-2133-2616).

Yongpyeong-myeon, Pyeongchang-gun, Gangwon-do, was named Yongjeon-ri by merging Dunjeon-dong and Bangdeok-dong as the main points of traffic passing through the Yeongdong Expressway.

The name originated from the fact that it was transferred from the area around Dunjeon-dong.

In the Pyeongchang area, there were Nongak bands in Jinbu, Daehwa, Banglim, Baekokpo, Jangpyeong, Mitan, and Yuchon in the 1970s, and Jung-ri Nongak in Pyeongchang-eup has long been active with regional representation.

Later, when Baekokpo Nongak, which had formed a double wall, was discontinued, Yongjeon Nongak was formed, and this was changed to the name Dunjeonpyeong Nongak, which is now being continued.

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.

Born in Buan in 1935, Kim Bong-gi lived in Han village with Jeong Gyeong-tae, Seokam, and learned the lyrics when he was young, and was later taught by Go Min-soon, an intangible cultural asset of Jeollabuk-do.

Kim Bong-gi is not only clear and quiet, but also has the feeling of continuing the sound flexibly like a bead rolling, even though it seems to be cut off by high-pitched processing.

Kim Bong-ki won a number of prizes, including the Jeonju National Women's Poetry Competition and the National Southern Women's Poetry Competition.