Although Buddhist dance is called heavy dance because it is a dance performed in Seungbok, it does not refer to a dance performed by a Buddhist monk, and it is one of the most representative folk dances of Korea. The origin of the song is said to have been developed in the 1910s from the perspective of Buddhist culture and history, from the perspective of Buddhism and Kim Man-jung's novels, and among mask plays, there are theories that it is a dance produced by the anguish of old dance and Pagye-seung, but it is not clear which one is certain.

The monk wears white jangsam and red lyrics, and dances according to changes in the rhythm such as Yeombul, Dodri, Taryeong, Gutgeori, and Jajinmori, with a white jade-like cone and an exceptionally prominent birseonko. The movement of somersaults or flying arm movements is very unusual, and the accompaniment is used as a flute, daegeum, haegeum, janggu, and drum.

Buddhist dance is a very good dance that combines the delicate expression of sweet, adult, and loose rhythm with the subtlety of the dance.

After the death of the late entertainment owner Shim Hwa-young (1913-2009), his granddaughter, Lee Ae-ri, has been inheriting the vein of stewardship.

The knot originated from the beginning of the agrarian society, using vines, plant stems, etc. to make and use a convenient rope, string, etc. for human life. It has been used for clothing and grooming as it was used to store and transport objects and to produce tools necessary for daily life. It has been added with beauty, color, and beauty. The origin of knots and tea ceremonies can already be found in the New Stone Age's Seungmun earthenware (baby-patterned earthenware), but little has been passed down except recent ones, given that it is difficult to preserve the fiber for a long period of time depending on its humidity and temperature, and that most of them have to be knotted by hand.



Like most other warfiber crafts, literature records are hard to find and have only been handed down from hand to hand for a long time. After the flowering period, the demand for knots and tea ceremonies has decreased rapidly, and the old masters have disappeared. Not only is it during the natural decline, but its use has gradually decreased due to changes in life, so only the name and name of the tree are maintained.

It is said that the monk danced as a member of the artillery group in the mid-Joseon Dynasty, but there is a theory that the dance originated from Hwang Jin-yi's dance to seduce an ethnic missionary. Having diverse dance moves and unique dance techniques, and the composition of the dance is also systematic, high-class, and artistic form, the dance is classified as a folk dance along with salpuri, not a ritual dance performed at a temple. The Buddhist colors of Jangsam with red lyrics on its shoulders and a cone hat are the essence of Korean dance, including the powerful Jangsam nori of Buddhist monks, outstanding foot-dimbing, and the spectacular drumming is the essence of Korean dance.

Born in Daejeon in 1974, Song Jae-seop began to learn composition and plaque from Buddhist monks of the Jogye Order, and was taught Buddhist rituals and ritual services such as baryeong dance by Buddhist monk Park Song-am, the holder of the important intangible cultural asset Yeongsanjae. Later, Yi Maebang received important intangible cultural assets such as Buddhist dance and Salpuri dance, and Yeongsanjae from Yeongsanjae Preservation Society.

Song Jae-seop's dance is very feminine but not weak, has a delicate yet large texture, and has a simplicity that is never fancy. The dance moves, which show a calm and vital movement from toe to toe, are used to solve the destiny of Korean traditional sweets. The gesture is not made up by force, but is drawing joy from within with restrained emotions and unfolds a dance that is never rigid. Drawing concentric circles on a calm lake, it gives a sad feeling as if the current is spreading. His own world of dancing and humble attitude from the spirit of composition deserve to be described as the struggle of a man born to dance fatefully.