Seonghwangje is a communal ritual for the village that has been handed down from the gray area of Seonggok-dong, Danwon-gu, Ansan. This village ritual is considered to have specific characteristics in that it has the characteristics of a holy emperor.

Seonggok-dong Jehommeori Seonghwangje is a village rite held by the residents of the village to pray to the guardian deity for good health, good health, and good harvests. The shrine houses Hong, the last king of Silla, and his mother-in-law, Ahn, as a village religion dating back to the reign of King Seongjong of the Goryeo Dynasty.

It is handed down in the form of village ritual, and residents of about 10 villages in the vicinity, including Anmal, Doranmal, and Beolmal, are participating in the rite in early October every year.

The Samhyeon Yukgak is accompanied by Janggun, Sinjang, Daegam, Daeshin, and tightrope walking.

There is a legend that during the reign of King Seongjong of the Goryeo Dynasty (982-1997), the inner poet, Seo Hui, met a storm on his way to Song Dynasty, and he built a shrine and carried out his mission safely to release the sorrow of the spIrit (Rain Hong and Ahn, the mother of King Kim Dae-dae, the king of Gyeongsun) that appeared in his dream.

Seonggok-dong's gray-headed holy emperors have been held twice a year to greet the spring and autumn shingok. It is said that the Seonghwangje Festival was much larger than the Seonghwangje Festival, which took several months to greet the new song of autumn.

The Hoemori Seonghwangje is of important value in that it is a joint ritual with a village nongak band in the form of the emperor.

Referring to farmers’ music that has been handed down in Iksan (previously called “Iri”), Iri nongak belongs to Honam Udo nongak (Farmers’ Performance of the Eastern Jeolla-do). nongak (farmers’ performance) has developed briskly in Saesil Village in Iksan. The village brought people who learned farmers’ music from experts in nearby areas like Gimje and Jeongeup and who trained a high-quality farmers’ music troupe as we see today. An Iri nongak troupe is composed of yonggi (dragon flag), nonggi (farmers’ flag), swaenap (conical wooden oboe), trumpet, samul [four percussion instruments, i.e., two kkwaenggwari (small gongs), two jing (large gongs), two buk (drums), and four janggo (hourglass-shaped drums)], beopgo (Buddhist drum), and japsaek [referring to a group composed of yangban (nobleman), daeposu (drummer), jorijung (masked clown), changbu (male clown), gaksi (young girl), and mudong (dancing boys)]. Troupe members who are called chibae or gunchong wear black vest over white jacket, white trousers, and sangmo (hat with feathers or strings attached), with bands in three colors tied around the head. Kkwaenggwari (small gong)-based rhythms include those related to ilche, ichae, samchae, oemachijilgut, pungnyugut, ochaejilgut, jwajilgut, yangsando garak, hohogut, and obangjin garak. Pangut (entertainment-oriented performance) proceeds in the order of insagut, ochaejilgut, jwajilgut, pungnyugut, yangsando, ginmaedoji (joint performance of kkwaenggwari and janggo), sambangjingut, banguljingut, hohogut, dallachigi, short maedoji, jjakdeureum, ilgwang nori, gujeong nori (individual play), and gi sseulgi. There are diverse forms of bupo nori (hat dance) performed by sangsoe (leader of the farmers’ music troupe). Well-developed janggo rhythms and dances are mixed with the music. The performance also features sogochum (small drum dances) and jinpuri march. Many rhythms are relatively slow. The music makes colorful rhythms, each played to meticulously transformed tunes. Pungnyugut and deongdeokgungi-related rhythms showcase highly sophisticated techniques. Iri nongak is a folk art performance that has been handed down along with the village history, playing an important role as an event that provides consolation in the hard life of farmers and helps villagers get along with each other well.

Yongho nori is a folk game played around Muan, Miryang-si, Gyeongsangnam-do for three days around the fifteenth day of the first lunar month.

It is believed to have originated from the game of tug-of-war, but the origin and origin of the game are unknown. The ridge behind Muan Village is like the Jwakcheongryong and Ubaekho, so the eastern part of the village was divided into Yong Village and the western part into Beom Village.

Yongho Nori consists of a total of six madangs, including Jisinbapgi, Nolimmadang, Boulmadang, Fighting Madang, and Yeollim Madang.

On the 14th, the day before the fifteenth day of the fifteenth day of the fifteenth day of the lunar month, the first yard was used to drive away evil spIrits and pray for good fortune.

On the morning of the fifteenth of lunar January, the second yard is called Nolim Madang, and visits the other village, teasing the villagers with teasing words, and returning after looking around the other person's preparations.

The third madang is the Bourm Madang, which is to be heated up before the battle, and each other's mind is raised. Above the head of the rope, the captain holds Young-gi, and each opponent's dragon and tiger's favorite Geum-yang and Shin Eui-ju come together.

The fourth courtyard is called the Pilmadang, which is one of the classical rituals, and the dragons and tigers of both sides stand up and bow their heads three or four times to the heavens.

In the fifth yard, when Geumyang and Shin Eui-ju, who were fighting each other for a chance, go up to the opponent's head and take the flagpole held by the captain and return to its original position, the game ends.

The sixth yard is led by the winning team with an open yard, with both sides in line and playing a game in tune with nongak.

Yongho Nori is a folk game that has been handed down for hundreds of years and shows bravery better than other folk games, and contains a sense of agriculture to pray for peace and good harvest in the village.