Namsadang Nori was played by Namsadangpae, a wandering entertainer consisting of at least 40 men, including the puppet (head) from the late Joseon Dynasty to the 1920s, mainly for the working class.

Namsadang Nori was a folk play that was born naturally in the common people's society, and it was not free to perform in the village due to being persecuted by aristocrats.

Namsadangpae consists of a hwaju, who plans a performance at the peak of the puppet, a dungsoe, a playmaker, a rookie, an older monk, and a backman, but Namsadang Nori consists of pungmul, Verna, Salpan, Eoreum, Deobogi, and Dulmi.

Pungmul is a kind of nongak nori, and it can be seen as a play to attract spectators by announcing the start of the performance.

Verna, similar to Chinese dish spinning, is a feat of spinning a wheel or bowl to a stick or a pipe.

Salpan is a land talent like today's tumbling, which means that if you do well, you'll die if you don't do well.

Eoreum was used only in Namsadangpae because it was as difficult as walking on ice as walking cautiously, but more and more people began to use it.

Seotboogi is a kind of mask play with a mask on. Dulmi, which extends to puppet shows, is called puppet play, Park Cheomji play, and Hongdongji play, depending on the important characters in the puppet show. In particular, puppet play has been handed down to this day, and it is of great historical significance that Namsadang play is the only traditional Korean puppet play.

Namsadang Nori, which originated from the working class and was performed for the working class, was used to criticize and solve the immorality of the Korean and aristocratic communities that were treated poorly by the society at that time and to awaken public awareness.