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.

A folk song is a song created by itself among the people and is passed down from mouth to mouth. It is closely related to life by using functions such as occupation, wind speed, and play, and may vary according to the locality or the callers' taste or spontaneity.

Sangminyo is a labor song called to forget fatigue and improve efficiency while working. The folk song consists of the sound of rice planting, rice paddies, and threshing.

The sound of rice planting is a song sung during the planting season, also known as Gonggalmot and Chaeryeonyo, and is a representative folk song of Gyeongsangbuk-do. The sound of non-maegi is sung while hanging steam, and threshing is sung while threshing barley.

This folk song is widely sung, regardless of age or sex, and is widely transmitted and transmitted in the inland areas of Gyeongsangbuk-do, including the Nakdonggang River coast.

Sangjuminyo is a labor song and is a unique folk song with an exciting and sad melody. Mr.Yook Jong-deok, who lives in Sangju City, continues his career.

Shijochang refers to singing a song with the lyrics of Sijo poem (Korean traditional poetry), also known as Sijo song, Sijeol dan song, and Danga. The oldest record is a poem written by Sin Gwang-su, a scholar of the reign of King Yeongjo (1724-1776), in which Yi Se-chun added a rhythm to the poem. In the "Yu Yeji" and "Gura Cheolsageumjabo" published during the reign of King Sunjo (r. 1800-1834), Sijo's sheet music first appears. After that, due to the influence of the song, the composition of the sijo music was distributed and divided into local characteristics.

Yeongje Shijo is a poem-making instrument centered on Gyeongsang-do. Pyeongsi and private sijo are the most frequent, and the unique accent of Gyeongsang-do is strongly represented, giving a vigorous and grand feel. Because they play a temporary instrument with a long or knee rhythm without an instrument, five beats are reduced in the beginning, middle, and end rhythm. The scale is composed of three-symmetric tones (a sad and mournful tone) and five-syllable tones (a clear and vigorous tone).

Yeongje Sijo was a poem that was cherished even in the royal court because it was so musical that the proverb "Yeongnam Sijo is good" came out from the word "Yeongnam Sijo is good." However, it was designated as an intangible cultural asset and protected it as it was only preserved in its reputation compared to other local Sijochang.

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.

Although it is difficult to find a literary record of "Samhyeon Yukgak," it is generally believed to have originated from "Samhyeon Samjuk" during the Unified Silla Period, and Samhyeon refers to string instruments and Samjuk wind instruments. However, the current term "Samhyeon Yukgak" refers to the formation of wind instruments based on the addition of a flute, haegeum, and drum, while the meaning of Samhyeon, which refers to a string instrument, disappears.

Therefore, it is widely believed that the "Samhyeon Samjuk" of the Silla Dynasty changed to "Samhyeon Yukgak" over the years.

On May 15, 2014, Choi Kyung-man (Piri), Kim Moo-kyung (Haegeum), and Lee Chul-joo (Daegeum) are recognized as the holders and are active.

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

Hanryangmu is a dance drama-style dance with a combination of acting, dance, and rhythm according to its role, which is characterized by a comprehensive artistic character.

The story of Han-ryang and a Buddhist monk seducing a woman adds to the fun of the viewers.

Mask dance dramas such as "Hallyangmu" have been popular throughout the country for a long time. First of all, if you look at the dance that appeared in "Gyobangga," which was performed in Jinju by Reverend Jeong Hyeon-deok in 1872, Hanryang, Gisaeng, Noseung, Sangjwa, and Sogi (Young Gisaengsaeng) appeared in the form of a dance drama.

On May 15, 2014, Cho Hung-dong and Ko Sun-ah were recognized as the owners of the hallyang and bridegroom, respectively. The holding organization is the Hanseong Quillu Gangseonyeong Dance Preservation Society.

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

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.