Jindo Sopo Girlgun Nongak is a cultural heritage that is still alive in the community life of Sopo Village. It maintains the original form of a village ritual on the south coast with its history, characteristics of a thief, and genealogy of Sangsoe, and is valuable as a folk art that shows its artistic and systematic composition.

Jindo Sopo Girl County Nongak Preservation Society is a community organization that has been handed down from Sopo-ri, and its performance records have been confirmed since 1922. It was established as a Sopo Girl County Nongak Band in 1964 and has been taught through various activities such as the Namdo Cultural Festival and the Yeongdeungpo Festival.

Sangsoe's genealogy leads to "Park Hak-sam, Jeong Deok-gwan, Ko Yoo-kwon, Im Hwa-chun, Im Wol-pan, Kim Hong-guk, Kim Oh-hyun and Cho Yeol-hwan," while Cho Yeol-hwan started with Sogo, and has been in charge of Sangsoe since 1995.

Seolbuk is leading to Kim Nae-sik, who was taught since he was 17 years old by Park Tae-ju, a master of Sulbuk in Jindo. For more than 50 years, it has been active as a Seolbuk of Sopo Girl's Nongak and has maintained the original form of drum dance until today.

The Lunar New Year's holiday season has led to "Kim Heung-sik, Ju Dong-ki, Park Yong-ho, Park Bong-sun, Kim Hong-bae and Hongbok-dong." Nonggi does not raise an instrument at Gutpan, wears a sangmo on the head and holds a tricolor band in both hands.

Hong Bok-dong is continuing today with the ability to produce traditional style "shaking sangmo" and a series of teasing entertainment programs.

Sculpture refers to a craftsman who used to work as a sculptor in air conditioning, teaching, and public sentiment.

Sculpture is a technique in which lines or sides are dug up with iron strips and patterns are made on the surface. In Korean, it is a technique that decorates surfaces such as gold or sweet gold.

There are many techniques such as flat, hexagonal, tapestry, high angle, and inlaid.

Cheoyongmu is the only dance performed at the Royal Court with a human face mask. The performance is based on folklore about Cheoyong, who is said, during the reign of King Heongang (r. 875 – 886) of Unified Silla, to have driven away an epidemic-spreading deity about to touch his sleeping wife by singing a song composed by him and dancing.

Cheoyongmu is danced by five performers wearing clothes of five different colors, blue indicating the east, white the west, red the south, black the north, and yellow the center. The dance is based on the theory of five elements and yin yang, and is intended to drive away evil spirits. The dance movements are gaudy, imposing and lively, and go well with the expressions of the facials masks worn by the performers.

Until the late Goryeo Period, the dance was performed by one person but the number of performers had increased to five by the reign of King Sejong (r. 1418 - 1450) of Joseon. By the reign of King Seongjong (r. 1469 – 1494), the dance came to be performed as part of a rite held at the Royal Palace. It continued to develop until the late Joseon Period through changes in the lyric, melody, and dance movements.

Following a temporary hiatus in performance upon Japan’s annexation of Korea in 1910, the Yiwangjik Aakbu (Royal Music Institute of the Yi Household) had it performed again in the late 1920s.

Cheoyongmu is a high-level art performance, combining music and dance movements with costumes and facial masks, which depicts the virtuous and humorous minds of the people of olden days.