UNESCO Heritages
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Arirang / Cheoyongmu / Daemokjang / Falconry / Gagok / Ganggangsullae / Gangneung Danoje / Gimjang /
Hansan Mosi Weaving / Haenyeo / Jeju Chilmeoridang Yeongdeunggut / Jongmyo Daeje / Jultagi / Juldarigi /
Namsadang Nori / Nongak / Pansori / Ssireum / Taekkyeon / Talchum / Yeondeunghoe / Yeongsanjae
Jongmyo Daeje
Jongmy Daeje is referred to as Jongmyo Jerye, and is the largest of various ancestral rites in terms of scale and importance. The ceremony takes place on the first Sunday of May at Jongmyo Shrine for the 83 kings and queens of the Joseon. Confucianism was the fundamental philosophy in governing the state, the ancestral worship was considered the most important virtue, and the ancestral rite was especially valued during Joseon period. So it was held strictly and solemnly. Jongmyo Daeje was one of the five rites performed by the Joseon Dynasty's royal family. Besides the rite worshiping the royal ancestors, Jongmyo Jerye has also been dedicated to meritorious civil and military retainers.
During the rituals of Jerye, Jeryeak music and Ilmu dance are performed to bring an enjoyment for the spirits invited into the rites. Jeryeak compositions played in the rites are Botaepyeongjiak and Jeongdaeeopjiak. The music was created by King Sejong for royal banquet, later it was modified under Sejo's reign for the ceremonial music. Jongmyo Akjang songs and Ilmu dances accompany Jongmyo Daeje.
Ilmu is also called Palilmu (line dance), and is divided into Botaepyeongjimu (dance to praise achievements of the former kings) and Jeongdaeeopjimu, (dance to praise the king's military achievements). Ilmu dances are performed by a group of 64 women dancers wearing purpled-clothing dance.
Botaepyeongjimu is a civil dance accompanied by Botaepyeongjiak, with Yak (a three-holed bamboo flute) in the left hand and Jeok (a pheasant-feather tasseled wooden bar) in the right hand while Jeongdaeeopjimu is a military dance accompanied by Jeongdaeeopjiak. The dancers move fast by holding wooden swords in the front four rows and the rear four rows with wooden spears.
To this day, it continues the same traditions of honoring them through ancestral rites, and is one of the oldest ceremonies in the world.
The ancestral ritual service is performed usually from 11:00 to 18:30 including royal procession.
Royal procession (11:00-11:40), Yeongnyeongjeon Ritual Service (13:00-15:00) and Jeongjeon Ritual Service (16:30-18:30) with following procedures of the rituals that are divided into three parts as follow:
(1) to invite and greet the spirits (Jaegye, Chuiwi, Jincheong, Singwanrye)
(2) to entertain the spirits (Gwaesikrye, Choheonrye, Aheonrye, Jongheonrye)
(3) to send off the spirits to heaven (Eumbokrye, Cheolbyeondu, Songsinrye, Mangryorye)
Jaegye (Purification)
The first part's procedures are jagye. As early as seven days prior to observe the services, purification ritual was enforced to purify the body and soul of the king. During this period, the king takes simple foods, and is barred from taking inauspicious measures such as handling down punitive decrees, and was forbidden to pay any condolence calls or visit patients. He was not supposed to enjoy music, nor was he allowed to sign any paper stipulating criminal penalties. Those officiants taking part in Jongmy Daejae also observe prohibitive regulations.
Royal Procession
At 11:00 AM, a senior officer holds up the royal seal and greets the king at Gyeongbokgung Palace to lead him to Jongmyo shrine. The king parades on a palanquin carried by the bearers and hundreds of the followership clad in traditional attire from Gwanghwamun Plaza and through Jongno towards the Jongmyo Shrine. When the procession arrives near Hamabi, a marker instructing to dismount, in front of Jongmyo, the King gets off the royal carriage and rides a sedan chair to move to the temporary court in Jongmyo. About 40 minute procession through busy downtown street itself is truly a magnificent sight.
Chuiwi (Taking positions)
As the box containing incense and prayer papers approaches Jeongjeon through Nammun gate, a solemn performance of music and dancing signal the start of the Jongmyo Daeje. The incense and the papers are placed on the ritual altar. Then, on behalf of the king, the officiants who offer the first cup of wine to the altars come out of the waiting chamber and take position in front of the altars, while the butlers wash their hands to symbolize cleaning their bodies and minds and proceed to their respective ritual positions.
Jincheong (Placing the spirit tablets in position)
The ritual is referred to as Cheonghaengrye. All officiants take their positions in their respective chambers and the chief officiants in each chamber place the spirit tablets in front of the altar. Then, Chanrye asks the king officially to begin the ritual service. The upper terrace orchestra plays Botaepyeongjiak music and 64 line dancers perform Botaepyeongjimu dance.
Singwanrye (Ritual to welcome spirits)
The ritual begins the rite of greeting and welcoming the ancestral spirits and the gods from Heaven and Earth by burning incense and offering wine. Directed by Chanrye, the Choheongwan pours a cup of wine in the hole on the ground of the spirit chamber. It was originally held at pre dawn during Joseon period, but nowadays is observed at the time of Jongmyo Daeje. The upper terrace orchestra plays Botaepyeongjiak music and 64 line dancers perform Botaepyeongjimu dance.
Gwaesikrye
The second is rituals for entertaining the spirits. Referred to as Cheonjo, the Cheonjogwan and Bongjogwan do the ritual table setting, assisted by the chief officiant, Daechukgwan, and the Chanrye. The Daechukgwan and all butlers take the covers off the food and wine tables, and Cheonjogwan hands vessel hodling cooked meat to the chief officiant, who will then offer the food in front of the spirit tablets. During this time, the lower terrace orchestra plays Punganjiak music.
Choheonrye
There are three rituals for offering wine to the ancestral spirits. The process is called Samsun, and the king begins to serve the first wine offering to the ancestral rites (Choheonrye). Upon offering the first cup of wine, this ritual is followed by rite of reciting the prayer paper by people called Daechukgwan, with all Heongwans, butlers and attendants prostrating before the altars to pay respect for the ancestors’ achievements.
Aheonrye
After reciting the prayer paper, the Aheonrye ritual is followed by Aheongwan (Crown Prince) who offers the second cup of wine. The ritual is similar to that of Choheonrye but no reciting prayer paper. The upper terrace orchestra plays Jeongdaeeipjiak music and Jeongdaeeipjimu dance is performed.
Jongheonrye
Jongheonrye is followed by Jongheongwan (Prime Minister), and is the third (last) of wine offering but no reciting of the prayer paper. The upper terrace orchestra plays Jeongdaeeipjiak and Jeongdaeeipjimu dance is performed.
Eumbokrye
Eumbokrye is the third and the last part of the rites which are held to send off the spirits to heaven.
Eumbok is an occasion of sharing foods and wine to the officiants, and this ritual is for Choheongwan to receive the ancestral blessing by sharing the ritual foods and wine picked up by the Daechukgwan from the ceremony table. Consuming the ritual food and wine is considered to be an integral part of the ceremony, as it symbolizes the receiving of the blessings bestowed upon the country. After this, Chanrye leads the Choheongwan to return to his designated position in front of the altar, where he makes four bows, with all other Heongwans and attendants do the same.
Cheonbyeondu
The Cheonbyeondu is the rite of removing all the foods served for the spirits. In fact, they move the vessels a bit away from thier positions on the tables as a symboic removal.
Songsinrye
It is a ritual to send off the ancestral spirits to heaven. In Songsin, the Choheongwan first prostrates and bows four times, followed by other Heongwans and butlers in other chambers. The Daechukgwan puts on the lid of the box containing the ancestral spirits and holds up. The lower terrace orchestra plays Heunganjiak music but no dance is performance.
Mangryorye
It is the last rite held by burning the prayer papers and the king is reported by the Heongwan and Daechukgwan that the rituals and services are completed. Later, all the officiants and butlers return to their positions and offer four prostrations. As all the service are over, the king returns to Jaegung, the temporary court in Jongmyo. Then, all Heongwans and butlers, musicians and dancing members withdraw.
Geoga Hwangung
The king returns to Gyeonbokgung palace on a royal palanquin. (not carried out nowadays)
Hwanggunghuchingha
Upon king's return, the prince and court officials offer congratulations to the king for the completion of the service. (not carried out nowadays)
Pansori
A prominent expression of Korea's rich stage arts tradition, Pansori is a genre of musical story-telling performed by a vocalist with drum accompaniment. This popular tradition, characterized by expressive singing, stylized speech, a repertory of narratives and mimetic gesture, embraces both elite and folk culture. During performances lasting up to eight hours, a male or female singer, accompanied by a single barrel drum, improvises on texts that combine rural Korean dialect with erudite literary expressions.
The term pansori is derived from the Korean words pan, meaning "a place where many people gather", and sori for "song". Pansori originated in southwest Korea in the seventeenth century, probably as a new expression of the narrative songs of shamans. It remained an oral tradition among the common people until the late nineteenth century, by which time it acquired more sophisticated literary content and enjoyed considerable popularity among the urban elite. The settings, characters and situations that make up the Pansori universe are rooted in the Korea of the Joseon period (1392-1910). Among the themes explored are family loyalty, bereavement and love. Pansori singers undergo long and rigorous training to master the wide range of distinct vocal timbres and to memorize the complex repertories.
Many virtuosos have developed personal interpretive styles and are renowned for their particular manner of performing specific episodes. Pansori continues to provide inspiration for new works in various media such as film, ballet and puppet theatre. These productions, as well as Pansori itself, are performed regularly in Korea and at festivals abroad. Although Pansori remains one of the best-loved genres within the increasingly marginalized sphere of traditional stage arts, it has lost much of its original spontaneous character. Ironically, this recent evolution results directly from the preservation process itself, for improvisation tends to be stifled by the increasing number of written repertoires. Indeed, nowadays few singers can successfully improvise, and contemporary audiences are less receptive to the impromptu creativity and the archaic language of traditional Pansori.
Gangneung Danoje
Dano refers to "high day" or "day of god" and falls on the fifth of May by the lunar calendar (all the dates hereunder are by the lunar calendar). Gangneung Danoje is the festival inheriting the tradition of Surinal, the day with double "five", the number of vigor. Originally, in the agricultural society, Dano was a festive day taking a rest after harvesting barley and planting rice, and Danoje was held to pray for a good harvest. Gangneung Danoje has been developed into and inherited as a comprehensive festival unique to the Korean Peninsula. In other words, it is a regional festival cultivating the sense of community among the residents in the Yeongdong region, the east side of Daegwallyeong Ridge. During the festival, people pay homage to three tutelary deities: Shilla General Kim Yusin who contributed to the first unification of the peninsula; Holy Monk Beomil, a native of Gangneung and the spiritual leader of the founding fathers of the Goryeo Dynasty; and a lady representing the sufferings from natural disasters and hardships.
People practiced worship to spirits in May after planting rice-seeds, and gathered to sing, dance and drink together for days and nights. The dance consisted of tens of people forming a line, stomping their feet and repetitively raising and lowering their hands. The movements were the imitations of farm works praying for a good harvest, and bears resemblance to Nongak (farmers' music) played during Gangneung Danoje. Gangneung Danoje, the largest traditional festival in Korea, takes place in the Yeongdong region centering on Gangneung City for almost a month from April to early May. It begins with the brewing of wine for the gods on April 5th. On April 15th, ceremonies are held to bring down the gods from Guksa Altar on the Daegwallyeong Ridge and enshrine them in Guksayeo Altar in the downtown Gangneung City. Gangneung Danoje has a great value in that it has continued for approximately a thousand years and reflects the history and life of commoners. In particular, its spiritual background is the mixture of Korean traditional religion such as Confucianism, Shamanism, Buddhism and Taoism, and thus the festival offers the diversity of ceremonies and performances.
The music, dance, literature, drama and handicraft are of high artistic value. Moreover, Gangneung Danoje serves as an opportunity to inherit traditional culture. During the festival, people are brought into contact with various intangible cultural heritages including religious ceremonies, Dano Gut (sharman's rite), mask drama, Nongak and Nongyo (farmers' songs), all of which are of remarkable artistic value. Other inherited traditional custom include trapeze riding, washing one's hair with iris water, and eating rice cakes. Bearing the cultural prototype of Korean festivities, Gangneung Danoje serves not only as a channel to transmit traditional culture but also as a place of cultural education.
Ganggangsullae
Ganggangsullae is one of the most representative seasonal rituals of Korea's rice farming culture, which permeates nearly every aspect of life among Koreans. Ganggangsullae gives hints about the origins of recreational music and dance emblematic of the Korean peninsula, as it used to be widely performed in the southwestern coastal region of the peninsula and is closely linked to inland circle dances accompanying music, including Notdari Balgi (Walking Over a Human Bridge) and Wolwoli Cheongcheong (Moon, Moon, Radiant Moon). A combination of various recreational elements based on the basic form of holding hands to form a circle while singing and dancing, Ganggangsullae has been named as such since the refrain "ganggangsullae," whose exact meaning is unknown, is repeated with every bar.
Traditionally, Ganggangsullae was performed by unmarried youngsters aged between 15 and 20 on Korea's representative seasonal occasions, including the lunar New Year, the first full moon day of the year, the fifth day of the fifth lunar month (Dano), the fifteenth day of the seventh lunar month (Baekjung), the fifteenth day of the eighth lunar month (Chuseok), and the ninth day of the ninth lunar month (Junggu), with the one on Chuseok, Korea's Thanksgiving being the largest. As such, Ganggangsullae has been developed into a performance most commonly conducted on Chusoek. Under the bright full moon, dozens of young village women hold hands to form a circle and sing and dance. While the sun symbolizes men, and the moon, women, and women's physical features are represented by a round shape, Ganggangsullae assumes the characteristics of the law of imitation, one of the laws of magic, reflecting primitive aesthetics. Because the dancing is strenuous, only young women are allowed to perform, but it is also their privilege as women of child-bearing age.
Ganggangsullae is a ballad dance unique to Korea. The songs are poems written by ordinary people and a lead singer set the pace. Fellow performers follow the lead with the next lines in a song. Besides folklore and folk dance, folk music is also incorporated in the performance as traditional Korean music instruments such as a drum and an hourglass shaped drum accompany the dance, adding to the entertainment. Ganggangsullae is so exciting and dynamic that participants often lose themselves and end up performing from the early evening when the moon rises until the moon sets. Depending on the tempo set by the lead singer, the music is categorized into gin (slow) Ganggangsullae, jung (middle) Ganggangsullae, and jajeun (quick) Ganggangsullae. The tempo of the dancers' movement also varies according to the music. During interludes, games reflecting life in farm or fishing village are played. They include imitating the Korean terrapin (one person goes into the circle to dance and the next comes in and imitates her), gathering brackens, tying herrings, treading on roof tiles, rolling and unrolling straw mats, catching a mouse (picking the tail), playing gatekeepers, riding palanquins, and looking for a handkerchief.
The archetype of Ganggangsullae is found from agricultural folk customs of Mahan, a Korean state that existed 2,000 years ago, according to ancient Chinese historical texts. In the history of man, it is not common to see an intangible cultural heritage handed down for such a long time. This long transmission of Ganggangsullae implies that expectations for the role of women both in the society and in the family have continued for such a long time as well. Throughout its history, Ganggangsullae also had other functions. It is said that in 1592, Admiral Lee Sun-sin had women perform Ganggangsullae at night around a fire. The flickering shadows fooled the invading Japanese into overestimating the size of Yi's forces, who ultimately prevailed. Also, listening carefully to the song verses, one can notice that there are many lines criticizing the society. In particular, the words written under the Japanese colonial rule reflect the Koreans' resistance to the occupation forces.
Namsadang Nori
Namsadang troupe needs some 40-50 male performers to present its full repertoire. Under the "head actor," the troupe has a planner, stage manager, actors, apprentices, elderly seniors, errand runners and porters. They have a strict hierarchy and apprenticeship to hand down their skills from generation to generation. The six acts of their program may be explained as follows: Farmers' Band Music (Pungmul): The farmers' music played by the current Namsadang troupe originated in Gyeonggi and Chungcheong provinces in central Korea. It consists of a road parade and individual skill demonstrations. Mask Dance Play (Deotboegi): Thirteen actors appear in four scenes - the ground purifier, the episode of scabies sufferer, the episode of feeble-minded scholar, and the episode of black monk.
Tightrope Walking (Eoreum): An acrobat performs a variety of feats on a tight rope between humorous exchanges with a clown on the ground. The rope is some 9-10 meters long and 2.5 meters high. Kwon Won-tae of the present Namsadang group can perform 17 kinds of feats. Puppet Play (Deolmi): A total of 51 puppets in 31 kinds appear in this play with two acts and seven scenes. The stage is set up with black curtains, some 1.2 meters above ground. Puppeteers manipulate the puppets from behind the curtain, exchanging dialogue with a narrator seated in front of the stage along with musicians. Acrobatics (Salpan): This act has a variety of breathtaking feats performed on the ground. Sieve Frame Spinning (Beona): An acrobat displays intricate skills for spinning and tossing a sieve frame using a wooden stick some 40cm long. Sometimes he uses a tobacco pipe, a knife or a small reel, or an impromptu device combining these tools. Among the six acts of Namsadang Nori, the mask dance and puppet plays are particularly worthy of note for their explicit social messages.
Characters in these humorous plays represent typical Koreans from different social classes, such as an aristocratic master and a defiant servant, an old couple and a concubine, Buddhist monks indulging in worldly pleasures, and the masses suffering from unending suppression and exploitation. These dramas were not simply designed to offer entertainment but also raise issues on behalf of the grassroots who had no means to voice their opinion. They were intended to imbue hopes for freedom and equality in the hearts of their commoner audience under yokes of class distinction. Through humorous depiction of women's lives in a male-dominated society they also manifested the ideal of gender equality and human dignity. The masks and puppets symbolically express the reality faced by each character. The pains and sorrows in their hearts are soothed and even fears of death are overcome with cheerful plays. Namsadang plays thus advocated the ideas of freedom and equality through witty and humorous dialogue and symbolic dances and gestures.
They spoke for the desires of Korean grassroots to pursue a beautiful and dignified life even though they had to accept the limitations of reality. These themes will be easily understood and earn sympathy from audiences around the world. The plays feature many silent characters, as well as abundant gestures and dances, facilitating easier communication and active audience participation beyond language barriers. They entertained the villagers with exciting programs of music, drama, dances and acrobatics, offering joyful moments to the oppressed commoners and boosting their morale.
Yeongsanjae
The Yeongsanjae has been transmitted by the Taego Order, a Korean Buddhist order. The Yeongsanjae is performed to help all beings and spirits enter into the world of truth, by worshipping and admiring the Buddha, Buddha's law and monks. It is the highest and biggest ritual utilized by Korean Buddhists to represent the world of Buddha here and now and is based on the philosophy of the Lotus Sutra. It is also a means for meditation and training.
The order of a Yeongsanjae performance is as follows:
1. Reception Ritual (siryeon): The purpose here is to receive all the saints and spirits of heaven and earth with the guidance of the Soul-Guiding Bodhisattva so that the ritual can be performed in a holy way.
2. Spirit Reception (daeryeong): The masters of the ritual are the spirits, dead and alive, i.e., all people. Dead spirits are invited to the ritual, while those present at the ritual are told why it is being performed and given the directions they should follow, based on the Buddha's Law. Families of the deceased dedicate food and liquor as an expression of their love and respect for the dead.
3. Cleansing of the Dirt (gwanyok): This is the ritual to cleanse the three karmas of the spirits that have accepted invitation so as to facilitate the achievement of serenity.
4. Donation of Money (Jojeon Jeoman): "Jojeon" means money that can be used in the nether world, and "jeoman" means to endow money with value. The necessity of money is to awaken us to the fact that our life is maintained by material blessings from the outside.
5. Tea Donation (Sinjung Jakbeop): A tea ceremony is dedicated to all the saintly spirits invited with the hope that the ritual will be performed well.
6. Reception of Buddha (Gwaebul Iun): Sakyamuni Buddha, the master of the ritual and who will preach on the Lotus Sutra, and all the Buddhas and Bodhisattvas are received according to the Law of Buddhism.
7. Dedication of Rice Meal (Sangdan Gwongong): With the Buddhas and Bodhisattvas invited, a rice meal is dedicated. In this ritual, wishes are made that, with the merciful help of the Buddhas and Bodhisattvas, all beings will obtain happiness and that the light of truth lit by Buddha will shine over the world of suffering.
8. Sermon (Beopmun): A monk in place of Buddha reconfirms the purpose of the ceremony, presenting concrete ways to realize that purpose. The monk delivers a sermon in which the audience is invited to the door of truth.
9. Meal Ritual (Sikdang Jakbeop): This ritual meal is intended not for the Buddhas and Bodhisattvas, but for the monks attending the ceremony. However, symbolically, it is for all beings in this universe, and through this service a foundation is laid for becoming a Buddha.
10. Blessing Ritual (Jungdan Gwongong): All of the saintly beings attending the ritual are asked to help ensure a good performance of the ritual. It also asks for blessings on all those present at the ritual.
11. Meal for the Dead Ritual (Sisik): Since the attendees are fortunate to be listening to the words of Buddha and since all rejoice that the dead have all gone to heaven, a happy rather than sorrowful ritual is performed for the departed to celebrate and congratulate themselves on going to heaven.
12. Farewell Ritual (Bongsong & Sodae Baesong): At the opening of the ritual, all beings were politely received with chants, so likewise, they should be given a proper farewell. The farewell is the final step in affecting the deceased's final destination.
Jeju Chilmeoridang Yeongdeunggut
Jeju's harsh environmental features have made the islanders' lives tough, inspiring respect for the sea. For Jeju islanders, the Yeongdeunggut rite is of special significance. When the time of Yeongdeung arrives, the rite is held throughout the island to plead for calm seas and abundant sea catches. Of all these rites, the one at the Chilmeoridang Shrine called the Jeju Chilmeoridang Yeongdeunggut is the most important. Its name implies that it is a rite for the goddess of wind only, but it is also a rite to worship village guardian gods and the Dragon King of the sea. While venerated, Yeongdeung also instills fear as she threatens people's lives by stirring the sea.
From early to mid-February when the goddess is present on the island, the sea is particularly turbulent. The islanders believe that as she leaves she removes all the contents of the shellfish. On the day of departure, however, the goddess also sows seeds along the shore to ensure people's livelihood and the sea is purified to help the growth of the seeds. As such, importance has been attached to the time of her stay and people began to mark the occasion by performing a rite at the Chilmeoridang Shrine in supplication for safety and good sea harvests. Chilmeoridang Shrine serves the goddess Yeongdeung and a couple, the Magistrate god and the sea goddess known as the Dragon King's Wife. The couple's responsibilities are divided between the needs of the local residents (managed by the god) and the livelihood of fishermen and female divers (the domain of the goddess). The tablets of the gods and goddesses are enshrined in the shrine. The Chilmeoridang Shrine is where the Yeongdeung Welcome Rite is held on the 1st day of the second lunar month to mark the arrival of the goddess as well as the Yeongdeung Farewell Rite performed on the 14th.
During this period, rituals for the mountain gods, which are performed in the first lunar month elsewhere in Korea, are carried out in other villages on Jeju Island. Only on Jeju are rituals for the mountain gods and rite for the goddess Yeongdeung combined into one shaman ritual, Yeongdeunggut. Compared to the simple Yeongdeung Welcome Rite, the Yeongdeung Farewell Rite is a sumptuous and more significant event. It is considered one of the most important of the shaman rituals and includes a rite for the Dragon King. The Welcome Rite begins with a "calling of the gods" ceremony which involves greeting and inviting the gods to the shrine as well as reciting the participants' names, followed by Pungeoje , a "pleading for a good catch" ceremony, and ends with a gut (shaman ritual) with a three-act play to entertain and appease the ancestral gods.
The Farewell Rite also begins with the calling of the gods ceremony, but it also includes an "entering the Village Shrine" ceremony. This involves asking the God and Goddess Couple to plead for the wellbeing of the village. The ritual includes three village officials offering drinks to the Couple and villagers asking that their wishes be granted. This is followed by an"offering" ceremony in which drinks and rice cakes are offered to all the gods, a "welcoming the Dragon King" ceremony, which is a special welcome for the Dragon King and the goddess Yeongdeung to ask them to ensure an abundant catch and safety at sea for the fishermen, and then by an "offering of seeds" ceremony in which fortunetelling is done with millet seeds and the sowing of seaweed seeds.
Next comes the "preventing disasters" ceremony that involves the throwing of a rooster to prevent disasters from happening in the village. There is also fortunetelling for the villagers and female divers. This is followed by the play in which the village's senior men launch a straw boat into the sea. The rite ends with the "sending the gods back" ceremony. Although the rite is conducted by shamans, its real owners are female divers and ship owners, together called "Dangol," who prepare food for the rite and offer sacrifices to the gods. Starting from their early teens, the divers continue their work of collecting marine delicacies from the ocean floor, so their safety and abundance of the sea are their lifelong wish; and their existence helps maintain the Yeongdeunggut. Sending off the goddess Yeongdeung, the Dangol prays: "When you leave, please sow seeds of turban shells, abalones, octopi and sea cucumbers so that we, the people who believe in the sea, can have an abundant sea catch."
Cheoyongmu
Cheoyongmu refers to a court dance performed by five dancers in five directions (west, east, north, south, and center). Hence it is also called Obang (quintet) Cheoyongmu. It is unique in that it is the only form of a court dance performed using human masks. At the end of the Silla Kingdom (BC57-AD935), King Heongang went on an excursion to the seaport of Gaeunpo (present-day Sejuk Village area in Hwangseongdong) in the southeastern city of Ulsan. On his way back home, the king felt strange about the sky covered with dark clouds and fog and asked his retainers the reason. "As it is caused by the dragon in the east sea, it should be resolved by conducting good deeds," a court astronomer replied. Therefore, when the king had a temple built for the dragon, the dark clouds disappeared and the dragon, along with his seven sons, emerged from the east sea and danced.
One of the dragon's sons, named Cheoyong, followed King Heongang to the capital, married a beautiful woman and held an official rank. One night, when Cheoyong returned home, he found the spirit of smallpox trying to attack his wife. As Cheoyong sang and danced, the smallpox spirit presented itself and kneeled in apology. Since then, people have attached an image of Cheoyong to the gate to dispel evil spirits and invite auspicious energies. Until the late Goryeo (918-1392) era, Cheoyongmu had been performed by a dancer, while by the reign of King Sejong (r. 1418-1450) of the Joseon Dynasty it was danced by five performers. According to the Canon of Music, Cheoyongmu was performed twice at the Narye ceremony, which was conducted on New Year's Eve to ward off evil spirits and the god of death of the passing year.
The five dancers are clad in white, blue, black, red and yellow, symbolizing the west, east, north, south and center respectively. Based on the theories of Yin and Yang and the Five Elements, Cheoyongmu symbolizes the repelling of misfortune. The stately and vigorous movements reveal a valiant spirit and magnanimity. Cheoyongmu begins with proceeding toward the king to the music of Sujecheon ("Long Life as Eternal as the Heavens"), singing the first line of "Cheoyongga" (Song of Cheoyong) with the words "Silla seongdae soseongdae" ("Silla, the period of brightness and greatness") in the lyric song rhythm of Elnak. Then, the dancers bow to the king and move to the center of the stage to the music of Hyangdang Gyoju (ensemble by Korean and Tang instruments).
To the slow tempo music of Seryeongsan ("Mt. Seryeongsan”), they form a square to dance "Scattering in the Form of a Flower" and rotate to the right. As the formation is changed to a cross, the music is also changed to slow 6/4 beat music by three strings. After the dances of "Dangled and Raised Hands Dance" and "Moving Knee to Change Direction", the dancers change the formation into a circle and rotate to the left. As the formation is changed to a straight line again, they recite a verse from the Song of Cheoyong, saying "sanha cheolniguk" ("To mountains or fields that are far away") in the lyric song rhythm of pyeonak and then leave the stage, dancing "Falling Petals and Flowing Streams" to the music of Dodeuri. n light wine color, the Cheoyong mask features white teeth, tin earrings with a lead bead, and a black official hat decorated with two blossoms of peonies and seven peaches. The light wine color and peaches symbolize warding off the evil spirit, while peonies signify inviting auspicious energies. (From Cultural Heritage Administration)
Daemokjang
The term "Daemokjang" refers to traditional Korean wooden architecture and specifically to the woodworkers who employ the traditional carpentry techniques. The activities of these practitioners also extend to the maintenance, repair and reconstruction of historic buildings, ranging from traditional Korean houses to monumental wooden palaces and temples. The Daemokjang are in charge of the entire construction process, including the planning, design and construction of buildings, and the supervision of subordinate carpenters. The wooden structures created by Daemokjang are smooth, simple and unadorned distinctive features of traditional Korean architecture. The traditional construction processes require both technical skills to design the building with consideration to its size, site and function, and aesthetic sense to select the lumber for the construction materials, cut and shape the wood, and assemble and interlock the separate wooden pieces without using nails, creating the so-called 'oints that withstand a millennium'. The know-how of Daemokjang has been handed down from generation to generation and takes decades of education and field experience to master. In working to restore monumental buildings using traditional techniques, Daemokjang practitioners reinterpret the beauty of traditional architecture with their artistic creativity and re-create it with their technical skills.
Gagok
Gagok is a genre of traditional Korean vocal music sung by men and women to the accompaniment of a small orchestra, one of several forms of singing that together constitute jeongga, or 'right song'. Formerly a music associated with the higher classes, Gagok is today widely popular throughout the country. Gagok comprises twenty-six namchang or songs for men, and fifteen yeochang or songs for women. Namchang are characterized by strong, deep, resonant voices, while yeochang are characterized by high-pitched, thin voices. Gagok songs are composed either in a solemn, peaceful key or a melancholic one, and use 10-beat or 16-beat rhythm. The traditional instrumentation of the orchestra includes the geomungo six-string zither, daegeum bamboo transverse flute, gayageum twelve-string zither and piri (small double-reed pipe). Gagok songs are acclaimed for their lyrical patterns, balance, refined melodies and advanced musical composition. Acquiring skill as a singer takes extensive time and effort and performance requires dedication and extreme control. Gagok is preserved and transmitted by practitioners, their communities and related organizations in local heritage training centers. Gagok has played an important role in the establishment of Korean identity.
Falconry
Falconry
is the traditional activity of keeping and training falcons and other raptors to take quarry in its natural state. Originally a way of obtaining food, falconry is today identified with camaraderie and sharing rather than subsistence. Falconry is mainly found along migration flyways and corridors, and is practiced by people of all ages, men and women, amateurs and professionals. Falconers develop a strong relationship and spiritual bond with their birds, and commitment is required to breed, train, handle and fly the falcons. Falconry is transmitted from generation to generation as a cultural tradition by a variety of means, including mentoring, learning within families, or formalized training in clubs. In Mongolia, Morocco, Qatar, Saudi Arabia and the United Arab Emirates, for example, falconers take their children to the desert and train them to handle the bird and build a relationship of trust with it. While falconers come from different backgrounds, they share common values, traditions and practices such as the methods of training and caring for birds, the equipment used and the bonding between falconer and the bird, which are similar throughout the world. Falconry forms the basis of a wider cultural heritage, including traditional dress, food, songs, music, poetry and dance, all of which are sustained by the communities and clubs that practice it.
Jultagi
Jultagi or Eoreum is traditional Korean performance of tightrope-walking and performing art of great complexity, accompanied by music and humorous dialogue and cynicism between the tightrope walker and an earthbound clown to delight and entertain audiences. The tightrope walker starts with simpler feats, gradually moving to more difficult acrobatics, displaying some forty different rope techniques in a performance that can last an hour. Tightrope walking is a widespread form of entertainment that in most countries focuses purely on acrobatic skill. The traditional Korean performing art of Jultagi is distinctive in that tightrope walkers typically engaged their crowds with often satirical narratives told to the beat of drums and pipes. The tightrope walker executes a variety of acrobatic feats on the rope, along with jokes, mimicry, songs and dance, while a clown engages the tightrope walker in joking banter, and a team of musicians plays music to accompany the entertainment. Today, tightrope walking performers are frequently invited to local festivals.
Taekkyeon
Taekkyeon is a traditional Korean martial art characterized by smoothly flowing movements of the hands and feet that highlight the elasticity of the human body. It contains various kicking skills and its smooth and rhythmic, yet fast and powerful movement, including hand and leg techniques as well as joint locks, and head butts. Following a unique, almost musical rhythm, fighters use leg locks, kicks, and throws to subdue or trip up an opponent. The graceful movements of a well-trained Taekkyeon performer are gentle and circular rather than straight and rigid, but can explode with enormous flexibility and strength. The feet play as important a role as the hands. In spite of its gentle impression, Taekkyeon is an effective martial art highlighting a broad variety of offensive and defensive skills employing all available fighting methods. When Taekkyon is practiced as a sport, it uses a limited subset of techniques, focusing on grappling and kicking only. Points are scored by throwing (or tripping) the opponent to the ground, pushing him out of the ring, or kicking him in the head. There are no hand strikes or head butts, and purposefully injuring your opponent is prohibited. Unlike other martial arts forms, there is no abrupt kicking or punching. There is more emphasis on low kicks and leg sweeps to make the opponent lose balance and knock opponent to the ground. A skilled Taekkyeon practitioner can rapidly dominate an opponent, by making an opponent withdraw without incurring damage.
Weaving of Hansan Mosi
The weaving tradition
is carried on in the township located in South Chungcheong Province, Republic of Korea. The region boasts fertile land and sea winds that allow ramie plants to thrive. Weaving ramie cloth involves a number of processes, including harvesting, boiling and bleaching ramie plants, spinning yarn out of ramie fiber, and weaving it on a traditional loom. Ramie cloth is comfortable in hot summer weather and is used to produce a variety of clothing. The whiteness of the bleached ramie fabric, as well as its refined quality and neatness, makes it suitable for high-end clothing. Hansan Mosi Weaving traditionally takes place in the form of family works, inheriting techniques and experience from mothers to their daughters or daughters-in-laws. The waving tradition also integrates the community together with neighbors for cooperation. At present, around 500 people in the province are engaged in the diverse activities of weaving fine ramie.
Arirang
Arirang is Korea’s national folk song, a song that every Korean learns and knows how to sing. The Arirang captures a variety of stories and its simple and beautiful memories, touching the hearts of many throughout the world.
The Arirang originated from Gangwon province located in the central northern area of the Korean peninsula. Essentially a simple song, it consists of the refrain ‘Arirang, arirang, arariyo’ and two simple lines, which differ from region to region. While dealing with diverse universal themes, the simple musical and literary composition invites improvisation, imitation and singing in unison, encouraging its acceptance by different musical genres. Experts estimate the total number of folk songs carrying the title ‘Arirang’ at some 3,600 variations belonging to about sixty versions. A great virtue of Arirang is its respect for human creativity, freedom of expression and empathy.
The prototype of the Arirang is well preserved labor song that has been orally passed down in Jeongsoen. The song that repeats Arari in its chorus has been sung in Jeongsoen and other villages located near the Taebaek mountains. The Jeongseon Arirang is characteristic for its slow and mournful melody. A lot of joys and deep sorrow is so expressive. It became a medium to express the joys and sorrows of their lives. The song was spread by the people who carried wood on boats along the river.
Arirang does not have any constrains on location or content, anyone can express his own story through the Arirang. The Arirang developed by absorbing the tunes in the region’s folk song of each region,
Jindo Arirang is sung in the region’s unique melody that has breath and lively tunes with six words to the line called Yukjabaegi.
Milyang Arirang comes from Gyeongsang province located in the southeastern region of the peninsula. The Arirang in this region captures the joys and free spirited nature of the people.
The Arirang is sometimes sung as a labor song to soothe the difficulties of the farmers, sometimes as a love song to woo another’s heart and sometimes as a play song to stir up excitement.
The Arirang is a poem that captures all sorts of emotions. The Arirang is one of the few folk songs that has so many lyrics.
The Arirang is evolving with time and creating a new tradition to be succeeded by future generation. A song of communication and healing, hopes and aspirations, the Arirang crosses all borders, contributing to the creativity and diversity of worldwide culture.
The Arirang will continue to capture joys and sorrows of our lives as the intangible cultural heritage of humanity.
It’s is not just melody. It’s memory.
It’s not just sound. It’s sensation.
It’s not just harmony. It’s history.
It’s not just a song. It’s soul.
It is a genuine music of Korea.
Gimjang
Korean-style preserved vegetables seasoned with local spices and fermented seafood were first recorded as part of the Korean diet as early as 760 years ago.
Kimchi, a must-have side-dish at all Korean meal, is unique in the sense that it is deeply rooted in “gimjang,” an annual seasonal practice, and also a kind of cultural activity which takes place at the threshold of winter in collaboration with villagers and family members. It reflects Korean society’s “sharing culture” with neighbors or the underprivileged, and Koreans’ interactions in the past with the natural environment - surviving with scant food in the long, harsh winter, and so developing salted fermentation for long preservation. Gimjang remains as a strong living tradition and legacy of community-involved activities among modern-day Koreans.
Gimjang requires a yearly seasonal cycle. In spring, shrimp, anchovy, and other seafood should be prepared for salting and fermenting. In summer, sea salt which is stored for up to two or three years should be acquired to let the bitter taste of brine out. In late summer, red chili peppers are dried and ground into powder. In late autumn, kimchi makers wait weather forecasts for the best dates for gimjang because it is important to make kimchi at the right temperature to acquire the best taste. Geographic conditions also diversify kimchi recipes in each region with various ingredients marking regional flavors. The recipes can be altered according to the tastes of the makers, so foreigners can easily make kimchi palatable to them.
Nongak
Nongak is a comprehensive folk performing art that includes music, dance, and rituals. Korean people have wished good harvest and driven away bad spirits.
Representative Korea’s folk culture, Nongak is known to most Korean, a music that energizes people with dynamic rhythm, bringing them together in harmony, and a cultural heritage that continues unique sentiments and sense of solidarity of the Korean people.
Having a long history of an agricultural state, Koreans always put agriculture as a foundation of the society. Nongak or Farmer's dance and music has long been one of Korea's most popular forms of entertainment, bears testimony to the gregarious nature of the people and their love of fun and festivities. Nongaknori originated from a religious ceremony to expel the evil. Nongak is a popular performing art widely practiced in the Republic of Korea combining a percussion ensemble, parading, dancing, drama and acrobatic feats. Its local performers are clad in colorful costumes with various purposes, such as appeasing gods, praying for a rich harvest in spring then celebrating it during autumn festivals and fund-raising for community projects. The public becomes familiar with Nongak through observation and participation in its performances, while community groups and educational institutions play an important role in transmitting its different components.
Historically, one of the oldest forms of all is the strenuous outdoor farmers' dance. It likely refers to the music performed by farmers played together in order to conserve their energy and make the work less boring while transplanting rice seeding or gathering the harvest in a rural community. As an expression of the people, the dancers show astonishing vigor and rhythmic verve. Leading a procession of men and boys, a bearer carries a pole with pheasant feathers, a ghost or spirit symbol, at the top and a banner proclaiming farming is the mainstay of the nation. The Nongak dance is divided into two categories: Nori (a fast, up-beat, almost frenetic dance) and the Minori (a slow-paced, melody dance which concentrates on satirical display depicting difficult life faced by common people and their hope toward a bright future). The musicians, who are also dancers, are dressed in traditional white Korean clothes with stripes of red, yellow, blue. They may also wear a blue vest and head-band or picked hood decorated with huge pompons of white paper flowers which comes from the Buddhist influence. They accompany themselves with hand-held drums, gongs, a piercingly loud reed instrument, and several Janggos. Following the leader's direction of running, hopping and turning, they move counterclockwise and with an exuberance that never wanes.
Nongak was used in the villages as a means to alleviate the hardship of farming and raise productivity. Nongak also functions as a ritual of folk religion with deities appreciated and evil spirits are driven away.
Nongak can be characterized into 6 different forms by the regions.
Fast energetic tempo, Calling for dance movement, Strong and energetic rhythm and folk play, Ritual characteristics, and Martial art movement and military techniques.
It is also a folk culture that takes place during a lunar new year and all to wish for abundant harvest and promote communal unity. Nongak is not simply a music, but also a source of joy and excitement.
Juldarigi
It
is a traditional folk game where two teams pull at either end of a thick rope that is made of rice straws and has a mark in the middle. The rules of the game also vary in different regions but above all, the game represents strength and unity. Victory is awarded to the team that pulls the marked rope away from the opposing team and closer to themselves. Beloved and widely played in Korea, the game is also prevalent in rice farming countries around the world, especially those in East and Southeast Asia. Historically, it was performed as a ritual to pray for rain and a good harvest. Unique variations can be seen in each region, differing according to the climate and culture. Rituals and Tug of War folk games got UNESCO recognition as a multinational intangible cultural heritage of humanity, Korea, Vietnam, Cambodia, and the Philippines.
Haenyeo
Haenyeo refers to female divers who dive into the ocean water to gather various seafood such as abalone, sea urchin, sea squirt, conch, octopus or seaweed, etc, without using any underwater diving equipment. Back in the days when Jeju Island was a land of fishing villages, the local women were responsible for a large part of the family’s income. There were male divers called Pojagin until 17th century, who worked for the Kings as suppliers of marine products. Over the years, the number of male divers dwindled, and the women took their places. Women divers only exist in the Jeju Island and Japan. Because of the very uniqueness of this diving profession, they have been the focus of worldwide attention for its rarity.
Before the suits were introduced in 1970s, the Haenyeo wore simple clothing made of cotton, which had side vents and were very easy to put on and take off. The women now wear rubber wetsuits that cover the whole body, allowing the Haenyeo to keep their body temperature steady so their work isn't so dependent on the water temperature. Another major change in the Haenyeo culture is the Bulteok. Haenyeos used these walls to change their clothes, take some rest and warm their frigid bodies after long dives. Bulteoks are where the experienced Haenyeo would teach the novices, various discussions on closed seasons and regulations were also made. The Bulteok were replaced by changing rooms with shower facilities.
Haenyeos are categorised into three groups according to level of experience: Hagun, Junggun and Snggun with the sanggun offering guidance to the others. Knowledge is passed down to younger generations in families, schools or local fishery cooperatives.
Haenyeos are the symbol of Jeju women who were the bulwark of the Jeju economy as they went on long expeditions to Japan as well as other parts of the country with their strong tenacious hold on life and pioneering spirit that is so characteristic of the Haenyeo. They learned to play in the water. It was when they barely reached the age of 12 that they began to harvest seafood. They went to deeper waters around age 15 to earn the living and became virtual sea women. It is a common sight to see them hold fins in one hand with a round ball-like tube to maintain balance, and a cord basket for their catch slung over their shoulder, shuffling towards the shoreline. When diving underwater, a Haenyeo carries only a pair of goggles, a round ball-like tube to keep her balance, and a basket to put her collections in. They dive as deep as 15 meters while some of the more experienced dive as deep as 20 meters hoping for better hunting in deeper waters, and then come to the surface, whistling for a breath of air. While Haenyeo are best known for their diving ability, they are also agrarians. They typically dive from October to May, and then work on their farms during the other months, all while taking care of their children and domestic duties and do household chores. Jeju women divers are some of the hardiest people in the world. Overall 3,300 Haenyeos range in age from early teens to well past sixty, though now the younger generation tends to find other jobs.
"Being a Haenyeo is an occupation before it is a culture, and it needs to create profit and be maintained as a profession in order for it to last as a culture.
Ssireum
Ssireum is folk wrestling in which two competitors wear "satba" (fabric belts) around their waists and thighs and grapple on mounded sand. Its history dates back to the fourth century Goguryeo Kingdom. The traditional sport was originally practiced by the military, but became a popular form of entertainment widely enjoyed especially on holidays.
Ssireum games take place on sand in any available space in a neighbourhood, and are open to community members of all ages. They are played on various occasions, including traditional holidays, market days and festivals.
Lots of people old and young gather around the ring: wrestlers compete using diverse techniques to send the opponent to the ground their torso, hands and legs; spectators enthusiastically cheer on their favorites; and the winner rides a bull in celebration. As an exercise of the whole body, ssirum fosters the cultivation of the body and mind. It also encourages mutual respect and cooperation, contributing to the harmony and cohesion of communities and groups.
Different regions have developed variants of ssireum based on their specific backgrounds, but they all share the common social function of ssireum ? enhancing community solidarity and collaboration. As an approachable sport involving little risk of injury, ssireum also offers a means of improving mental and physical health.
On November 26, 2018, Korea's Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage of UNESCO included traditional Korean wrestling (ssirum/ssireum), following an unprecedented joint application by both Koreas.
Yeonduenghoe
The festival of lights, held annually in line with Buddha’s birthday on April 8 on the lunar calendar, symbolizes lighting up the world to make it an abundant and fair place for everyone.
The festival dates back two millennia. Historians say there was an ancient kingdom in 57BC where royals visited a temple to see lotus lanterns. Once a religious ceremony, it has now evolved into a popular festival for the public. Lanterns made with paper and bamboo decorate temples and streets across the country, and parades also take place.
The inclusiveness of Yeondeunghoe contributes to overcoming all social boundaries and to ultimately expressing cultural diversity, and the lantern lighting festival plays the role of sharing pleasure and, in times of difficulties, of enhancing social cohesion.
The entire downtown area of Seoul is bejeweled with multi-colored lanterns, creating a large, open-air lantern exhibition. A spectacular parade makes its way from Dongdaemun Gate to Jogyesa Temple. Here, Buddhist monks, along with members of the community, travel along the route with breathtaking lantern displays of animated tigers, dragons and even replicas of the Buddha himself.
Despite South Korea’s rapid modernization, there are still plenty of ways to learn about the country’s rich history, colorful culture, and unique traditions. Perhaps no way is better than attending a festival, of which there are many throughout the year. There is never a lack of celebrations in this highly diverse country.
Tallchum
Originated as part of shamanic rituals, Talchum had evolved to protect villages and provide a good harvest.
It has since become a popular form of entertainment and may be performed at royal banquets.
Korean mask dance, is a form of theater in which people wear masks, sing, and dance. Korea offers a variety of reverent experiences to its vibrant and rich ancient heritage. Traditional masked dance dramas capture the essence of shamanic beliefs from different regions throughout the centuries.
Talchum is a comprehensive artistic performance. The dancers in their masks of people, ghosts and animals satirize and criticize the world, exchange cheers with the audience, and create humorous and unique performances.
