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.

Odoktegi is also called "deulsong" or "farming" as a farming song that is sung to forget fatigue and improve farming. One of the local folk songs, Odoktegi, may have different songs depending on the region.

Gangneung Haksan Odoktegi is a folk song representing the area, and according to the "Annals of the Joseon Dynasty," King Sejo (r. 1455-1468) selected a person who sang the Odoktegi well and gave him a prize. Some of the meanings of the five poisons are that they were called the five times because they were called the five times, while others say the word "o" means sacred and noble, and the word "poison" comes from the meaning of clearing fields.

The story consists of the sound of rice planting, the sound of seaweed, the sound of rice harvesting, and threshing. The sound of rice planting is a song that is sung when planting unknowns, and is sung by those who accept the call first. The sound of gimmaegi is a song sung when making laver, and the sound of rice harvesting is also called 'Bullim'. The threshing sound is also called the 'shaking sound'.

Gangneung Haksan Odoktegi was designated as an intangible cultural asset to protect and pass down the local folk song.

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.

Ipdance is a dance that was established in the late Joseon Dynasty, and is the basis of all dances. Especially, Kim Sook-ja Ryu's Ipdance is a traditional dance that has a unique and systematic dance technique, and is worth designating as an intangible cultural asset to preserve the function of the event.

Lee Gil-ju was born in Jeonju in 1950 and learned Korean dance by entering Choi Sun. Honam Sanjo Dance is a traditional dance of the Kibang system that connects Lee Chu-wol, Choi Seon-eun and Lee Gil-ju, and it is a dance that freely sublimates the Korean traditional dance, which is a representative characteristic of Korean dance that performs the best dance according to the improvised sancho performance.

Lee has won a number of competitions including the Korean Dance Festival and the Sicily Dance Festival in Italy.

The origin of Gayageumsanjo was started by Kim Chang-jo (1865-1919), a native of Yeongam, South Jeolla Province, in the late Joseon Dynasty. Starting with the slow Jinyangjo rhythm, Jungmori, Jungjungmori, and Jajinmori rhythms became faster and faster. It is one of Korea's representative instrumental solo genres, using various groups such as Ujo, Pyeongjo, Gyemyunjo, Gyeongdreum, and Gangsanje. The beauty of the melody, which has a free melody in a certain frame and draws the emotions of the performer by repeating the tension and relaxation, is indeed enough to express the emotions of traditional Korean music.

The transfer of various factions, including Jeongnamhui, Choeoksamryu, Gangtae Hongryu, Kim Byeongho and Kim Jukpa, is taking place. In 1968, Gayageum Sanjo and Byeongchang were designated as important intangible cultural assets, and other factions were well-suited as the holder. However, Kim Byeong-ho's Gayageum Sanjo is considered to have the deepest taste in Nong-hyeon, but it has not been designated as an intangible cultural asset. Kim Byeong-ho was born in Yeongam, South Jeolla Province, in the same region as Kim Chang-jo, the founder of the Gaya Geumsanjo, and his Sanjo is rooted in Kim Chang-jo. Since then, Kim Byeong-ho created his own Yupa, which has a wide range of sounds and a deep taste, and his Yupa has a more unique beauty by using the Umori rhythm, which is not found in other yu. Fortunately, he was transferred by Kang Moon-deuk and Yang Yeon-seop, who were taught by Kim Byung-ho, and Kim Nam-soon and Sun Young-sook are passed down to Kang. Yang Yeon-seop, who also learned from Kim Byung-ho, is training junior students in the academic world, mainly in Seoul. Kim Nam-soon is active in the Yeongnam region, and the transfer is taking place in the Jeollanam-do region, with Sun Young-sook at the center.

Kim Chang-jo, the founder of the Gaya Geumsanjo, was born in Yeongam, South Jeolla Province, and Kim Byeong-ho, who learned from him, is also from Yeongam and needs to be designated as an intangible cultural asset of South Jeolla Province based on his regional background. Since entering Gayageumsanjo in the 1960s, Seon Yeong-suk has been fully transferred from Kang Mun-deuk to Kim Byeongho-ryu Gayageumsanjo, and won the Grand Prize (President's Award) in the string section of the National Traditional Music Festival in recognition of his skills. Therefore, Seon Yeong-suk, who designated Kim Byeong-ho-ryu Gayageum Sanjo as an intangible cultural asset of Jeollanam-do and faithfully carried on his production, needs to be recognized as the owner of Kim Byeong-ho Sanjo and preserved.

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 main vocal was a labor song, which was sung when fishermen made anchor ropes used in the sea. The contents include the sounds of wood, jaws, rope, screeching, chirping, chirping, sorghum, and sarira. Wooden bells are the sounds of cutting down trees, and jaws are the sounds of tight ropes. The stringing sound is sung when a string of three strands is twisted, which is not thick, while the wiggle sound is sung in the process of keeping the line firm and horizontal. The reindeer and chaiing sound is sung when three thin lines are made into one thick string, and when a thick twisted string is rolled, the female voice and sarira sound are sung.

Nongak is the music played by farmers when they squeeze their dure and play percussion instruments such as kkwaenggwari, Jing, Janggu, and drum. It is also called Gut, Maegu, Pungjang, Geumgo, Chigun, etc.

Wooksu Nongak is a nongak that originated from the Cheonwang-Baegi Gut, which was held every year at Dongjedang Hall in this village.

The process of nongak is performed as a wayfarer, Cheonwangdaejigut, which is performed in front of Dongjedang, and a round-demi in which nongak performers dance to the rhythm of Sangsoe in the original form, a yard play in which gongs, drums, janggu, and Beopgojabi players show their tricks in groups, and a Sangsoeobuk-gu, and Z-dong, and quickly turns the performers who sit in the shape.

Wooksu nongak has a characteristic of Yeongnam nongak, which has a relatively fast-spaced and low-spinning melody, and especially the rhythm of Gilgut is unique. In addition, it is unique in that out-of-the-box farming is a rare form of play in the southern part of Gyeongsang-do.

It is presumed that this mask play stemmed from the puppet play performed by itinerant troupes called Namsadang in Anseong.

The face-shaped mask is put on a foot stretched out by a person inside a covered space sized 2m by 1m and the puppet’s arms are moved with a string (now with bamboo sticks) attached to them. The person inside the space sings, dances, and cracks gags.

Another clown outside the covered space moves in harmony with the movements made by the masked foot to the accompaniment of music played on piri (flute), jeotdae (bamboo flute), haegeum (two-stringed fiddle), buk (drum), and janggo (hourglass-shaped drum).

Baltal is a puppet show mixed with a mask play. The gags cracked by the clown included acrimonious satires about what was happening in society and expressed the delights and sorrows experienced by commoners who were forced to live hard lives.

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.

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)