San Joaeng is a musical instrument created by the originality of the Korean people, and Sanjo is also a music that can be designated as a World heritage Site just like Pansori. Sanjo, which is rooted in shamanism and pansori, retains the history and tradition of the Korean people, and has become highly professional and artistic through the formation and development process of Sanjo.

Currently, the Ajaeng Sanjo is not designated in any City or province in the country, and Park Yong-tae's Sanjo, based in Busan, has very few people who wish to be transferred due to the lack of a base population. In addition, due to economic and learning difficulties, effective transfer of young people, including early transfer, is not possible, and preservation is in danger.

Park Yong-tae is a first-generation apprentice to Han Il-seop, the founder of Ajaeng Sanjo. Park Yong-tae's genealogy, along with other masters of the same-literature Korean classical music, is clear and the legitimacy of the melody is beyond question. It is no exaggeration to say that his musical skills and standards are unrivaled, and he is performing extensively on stages across the country, as well as in Busan and the Yeongnam region.

Park Yong-tae's "Ajaeng Sanjo" (Park Dae-sung-ryu) has a lot of Ujo-seong rhythms, unlike ordinary mountains. In other words, the ordinary mountain bird is composed mainly of surfactant rhythms, giving the impression of pleading and purring, while the Park Dae-seong's Ajaeng Sanjo has a strong and magnificent feeling. This musical feeling is in line with the musical characteristics of Menarijo, a musical characteristic of Gyeongsang-do. Therefore, the Ajaeng Sanjo of Park Yong-tae (Park Dae-seongryu) can be seen as having enough of the characteristics of life of the people of Gyeongsang-do.

Currently, he is transferring from a new building to a new building located in the former Dongnae area of the Dongnae-gu Hot Spring Park. Dongnae Kwon Bun was a popular attraction where master singers from all over the country gathered to inherit the tradition of Korean traditional music in Busan after Japanese colonial era.

One of the folk games handed down in Dongnae area is a form of folk belief-like village exorcism that soothes the spirit and repels evil spirits.

Jisinbapgi is a kind of mask parade that has been performed on the fifteenth of lunar January for a long time. It is religious to pray for the peace of the village and family and to pray for a good harvest of the year. The current Dongnae Jisinbapgi was reconstructed from the late Joseon Dynasty into a circular shape and refined into a folk game from around 1970.

Dongnae Jisinbapgi prepares musical instruments, costumes, and tools in December of the lunar calendar, and it is composed of 35 people from all classes of Joseon Dynasty, including four daebu, catcher, Hadong, and Gaksi, to practice playing. The nobleman is qualified for general command, and Hadong and the catcher serve as the counterpart to boost the excitement. The humorous lines of Hadong and the catcher against the nobleman contain satire that ridicule the nobleman.

The play consists of the four madangs of Jusan Jisinpuri, Dangsan Jisinpuri, well Jisinpuri, and Saengwonjipnip Jisinpuri. They hold ancestral rites in Jusan and Dangsan, and then come down to the village to hold a rite in the village well spring. Finally, Jisinbapgi is performed from house to house. If you step on the authority, the landlord offers liquor, grain, and money as examples, and grain and money are spent on joint projects in the village.

Unlike other folk games, which focus on pungmul nori, Dongnaeji Sinsinbapgi is characterized by a gutgeori rhythm and a deobaegi dance. Currently, the Busan Folk Arts Preservation Association and Jeongsu School are striving to transfer and distribute the art.

Buddhist paintings mainly produce tangs for worship and enlightenment, which express Buddhist doctrines in a conversational way.

The 15th intangible cultural heritage of Busan, Gwon Yeong-gwan, is a Buddhist cremator who clearly proves his relationship with the Buddhist monk. His father, Kwon Jeong-du, was transferred from Yang Wan-ho, a great Buddhist mother who left many Buddhist paintings in Gyeongsang-do, including Busan, in the early 20th century, and produced outstanding Buddhist paintings and sculptures nationwide, while Kwon Yeong-gwan was transferred from his father again.

It was first introduced in 1962 and has been engaged in the production of tangs for 46 years in Busan. In 1972, he won the Excellence Prize for painting in the Buddhist Painting section of the 3rd Buddhist Art Exhibition hosted by the Jogye Order of Korean Buddhism, and won the Best Prize in the 4th edition in 1973, and the 5th edition in 1974, the following year, he won the Special Prize.

In addition to Buddhist temples in Busan such as Beomeosa and Samgwangsa Temple, there are more than 50 of his major works enshrined in Buddhist temples across the countrywide. In his writings, eight passers-by are currently working to pass on the function of Buddhist painting production.

In addition, the traditional methods of making Buddhist scriptures are faithfully followed by the traditional methods of making them, along with the ability to embody the contents of Buddhist scriptures in Buddhist scriptures. On December 16, 2008, it was designated as Busan intangible cultural Property No.15.