Thagzo or the art of weaving is one of the oldest and widely used skills that have been practised for ages. The all-encompassing use of textiles represents prestige, artistic skills, discipline, determination, familial sentiments, tangible form of asset, and expressions of devotion towards the dharma. Bhutanese textiles are the product of knowledge and skills developed and nurtured over centuries of experiences and family traditions. Our textiles are valued and renowned for their richness of colour, sophistication and variation of patterns, including the intricate fibre preparation, dyeing, weaving, and embroidery techniques. This rich and complex art of weaving is an inseparable part of our culture and history. Today, the wide availability of imported fibres and dyes are transforming the palette, textures, and surface qualities of the clothes produced. There are more than eleven types of yarns and dyes including the five main colours (white, yellow, red, green and blue) and six subsidiary colours (orange, dark green, light yellowish green, pink, light white, blue and black). These different colours are woven in accordance with different designs and patterns. Women from central and eastern regions of Bhutan are famous for their weaving skills and each region produces their own specialty. a. Weaving with Designs and Patterns: Every textile product has a name that expresses its particular combination of colour, design, pattern and fibre. Weaving pattern is either stripes - vertical for men, and horizontal for women in cotton, silk or wool. Required extra designs are made by adding warp threads. Patterns like the vajra (thunderbolt), the swastika, the tree or the wheel, each has symbolic meanings. Although the symbols used in Bhutanese textiles are primarily of geometric nature, they also have deep religious meanings. Some common geometric symbols include the dorje (Vajra), the drame (nets), the phenphenma (butterflies), the phub (Kiliya), the yudrung (Swastika), and the shinglo (leaves). The drame or the eternal knot is a classic Buddhist symbol. The phenphenma is a symbol of butterfly and the eight-pointed star, while the dorje or the thunderbolt represents the indestructible powers of Buddhism. The phub or the rainbow is a triangle pattern in successive rainbow colours. When dorje symbol is incorporated within the phub symbol, the pattern becomes dorje\u0002phub. The shinglo symbol is used mostly on the royal and noble family dresses since this symbol is the most difficult to weave. The shinglo symbol represents the “tree of life”. The therpochay ( Jana chagri) or the China Wall pattern is usually seen next to the phub design on kiras. The therpochay symbol is believed to have been derived from the designs on Chinese brocade. The yudrung portrays the crossroads where the four directions meet. A yudrung represents the balancing forces of the universe, when rotating. The yudrung is an ancient pattern and its epicentre is considered a spiritual place. Yudrung is depicted on the royal thrikheb as the centre most design. Bhutanese weavers usually weave two types of textiles; the plain woven meaning kar chang, and the pattern woven textile called metochem. These are described below. a.1. Karchang: The plain woven textiles include pangtse, mathra, sethra, adang mathra, shardang thara, and pe sar. Plain woven clothes are worn at home or work since they are cheaper than the pattern-woven clothes. Mathra (red pattern) is a varicolored plaid woven on a maroon or red field, sometimes woven with stripes (khaja) at the edges. Sethra (gold pattern) is a plaid weave usually with yellow or orange field as the dominant colour. Sethra has two popular colour combinations; red with black or blue plaid on a white field; and yellow, white and black on an orange field. Sethra dokhana consists of black colour in it while buechapgi sethra does not contain black. Thara has horizontal stripes with white as a dominant field. Shardang thara has multicoloured stripes while Samkhongma have narrow red-and-blue stripes, and Mondre which has a similar pattern to Samkhongma is worn mainly by older people in rural areas. Kamtham Jadrima is a striped textile with colours of the rainbow. Kamtham thara consists of simple warp stripes or plaids, which are gifted to a religious person. Pesar (new design) is a modern innovation with small patterns in striped plain cloth. Yu tham or the country cloth which is made of wild silk or cotton is very popular in the rural areas. Kawley is a completely black fabric of wool, which is believed to have healing properties. a.2. Meto Chem: Aikapur and Ku shu thara are the two specific kinds of pattern-woven textiles. Pattern-woven clothes are considered special, and are valued and saved for special occasions like festivals, marriages and for New Year celebrations. Bhutanese weavers weave many different types of clothes with intricate designs such as leaves, birds, trees and other animal patterns. These are briefly explained below. Aikapur: Aikapur is a textile woven of cotton or silk, and appears to be embroidered. Aikapur has double faced pattern bands called hor which alternate with rows of plain weave; with always an odd number of legs ‘kangpa’ or cross hatches. A textile is referred to as a b-sampa (with three legs; b-napa (with five legs); b-zumpa (with seven legs); b-gupa (with nine legs); b-songhthurpa (with eleven legs); and b-songsampa (with thirteen legs). Aikapur is differentiated by the colour of the background thread, and the supplementary thread used. The common colours used in aikapur are: dromchu chema, literally meaning ‘little boxes’, with red, green, yellow, and white pattern bands. Mentse mathra is a material with a yellow base, and with red and green stripes. Montha has a blue or black background with red pattern bands between colourful stripes. Lungserma has green and red pattern bands on a yellow background. Shinglo or ‘tree of life’ patterns made on the fabric are used to assess the quality of an aikapur. The delicate branches and leaves of these trees are inspected when judging the quality of a textile. Kushu Thara: Kushu thara used to be considered aristocratic and the most prestigious dress for women. Ku shu thara is woven from vegetable dyed cotton and raw silk (bura) or entirely from silk. Ku shu thara has spectacular brocade design which take up to a year to weave. Ku shu thara is always embellished on a white base, and a similar kira with a blue or black background is called ngosham .Sapma, the continuous weft patterns, and tingma, the alternative weft patterns are used as base pattern for kushuthara, ngosham or shinglochem. Shinglochem can be either a gho or a kira, woven with alternate rows of warp pattern bands. b. Weaving Materials: Bhutanese produce fibres such as raw cotton, wool, nettle fibre, yak hair and bura (raw silk). The most expensive and the most valued fibre in Bhutan is raw silk. The Bhutanese do not kill the silk worms that remain inside after spinning its cocoon, but are left until they escape, which breaks the thread before it is unrolled. That is why, Bhutanese raw silk feels and looks relatively coarse compared to Indian and Chinese silk. Several types of yarn like seshu (cultivated from mulberry silk moth Bombayx mori), bura (produced by wild non-mulberry silk moth), namdru kuep (parachute silk), and varieties of silk imported from India are notable. b.1. Nettle: Nettle or stinging nettle, though now rarely used, is said to have been the original and chief fibre used by weavers in ancient Bhutan. Nettle fibre is coarse but strong and durable. That is why people in villages used it to weave sacks, bags, kurel, pagi, pakhi, bundi and tabden. Owing to its strength it is also used as bow string. Nettle is herbaceous flowering plant that grows in temperate and sub-tropical zone. The plant grows up to 2 meters in height with spiny stems and leaves and bears white to yellowish flowers. Nettle bark contains baste fibre which is strong, smooth and light. In Bhutan, nettle fibres are harvested in the months of October and November. After peeling the stems, the fibres are dried, and then cooked with ash for about 6 hours. The fibres are then washed with cold water, and beaten in order to remove the outer cover. After removing the outer cover, the fibres are dried and dyed with natural dyes. The nettle plants are shredded, and twisted into thin fibres using a drop spindle. Nettle fibres are used to weave bundi or carry bag. Bundi is usually woven with brocaded yudrung motif at the centre of the middle panel, on a white colour base. The bundi or carry bag consists of three lengths of cloth sewn together to form a square panel. Ropes on the diagonal sides of this piece are tied together to carry possessions and bedding. b.2. Wool: Yarns from yak, sheep and goat wool are spun using phang (drop spindle) and moved to a chaphang (spinning wheel). The herders of the high valleys of Merak and Sakteng weave shingka (tunic-style dresses), women’s jackets and belts. They also make hats, ropes, tents, and bags out of yak hair, and floor mats and blankets from sheep wool. The Layap women’s dress includes a black woollen jacket, a long woollen skirt, adorned with lot of jewels, which often include teaspoons. Women also wear conical bamboo hats with a bamboo spike at the top, held by beaded bands. Shingka, an ancient tunic-style textile that was woven with either a ngoshingkha (blue) or a laushingkha (red) wool base, was worn by a high lama during religious ceremonies. Char khab, woven from wool (of yak or sheep) either on a pedal loom or back strap loom is used for protection from snow, cold, and rain. It is water-resistant and an essential item for the herders in cold the region. Sephu charkhab (rain cloaks from Sephu) is a colourful textile with bands of green, blue, white and orange. Bumthang and Trongsa were known for a woollen fabric called yathra, which was used as a cover from rain and cold. In the late 1990s, farmers in Trongsa had stopped raising sheep which inevitably put an end to the practise of weaving yathra. Yathra is used as bed covers, blankets, rain cloaks, cushion covers, sofa set covers, and as jackets for both men and women. b.3. Cotton: Kershing (cotton) is used to separate the cotton seeds, and then fluff out to make it ready for spinning into yarn with the help of a wooden spindle or spinning wheel. Usually cotton woven with traditional designs on white background, chagsi pangkheb was put on laps to wipe hands before and after meals by persons of higher positions. In the early days, Bhutanese women used to put on an apron-like wear called dongkheb as a sign of respect while approaching the king or a high official. Phechung is a cotton woven carry bag woven but its usage is now limited to ceremonial receptions along with chagsi pangkheb. Thrikheb (throne cover) is a rare textile used as the King’s throne cover. It is also used for the lamas during religious ceremonies. Chephur gyaltshen (banner with frills), gyaltshen (pair of cylindrical hangings with valance), bumgho (bumpa covers), kheb and tenkheb (altar covers),phen (pair of triangular topped hangings) and chephur (a pair of cylindrical hangings) are some of the other cloth products that are used in altars and monasteries. Hingthub is a time-consuming but highly cherished textile woven for loved ones or for use by the weaver or their ‘lord’. The finer product demonstrates the dedication of the weaver. It is also used by the weaver’s family or to stitch outer attire for statues or as wall hangings. Today most of the yarns for weaving like raw silk, cotton and acrylic are imported while some of the yarn is spun and processed locally. The availability of cheap machine spun yarns from India has overtaken the local cotton cultivation. b.4. Types of Loom: There are three types of looms used by weavers in Bhutan. Traditionally pangthag was the most commonly used loom for weaving larger size garments. The smaller version of this loom called kethag is used for weaving narrow items like belts. In the 1970s, another type of loom called thri-thag (khri-thags) was adopted from India. This loom gained popularity in the growing urban centres. This later type is a horizontal loom with pedals. Each region has a speciality in terms of designs and types. Kurtoe is known for Ku shu thara, while marthra and serthra are mostly produced in Bumthang. Trashigang district is well known for weaving aikapur, while pangkheb and montha come from Kheng. b.5. Dyes: Bhutanese weavers consider the coordination of pleasing colours more important than the designs, patterns and techniques. Strong taboos are associated with the dyeing process and the weavers are very particular about colour shades. They believe that malevolent spirits, certain weather conditions, strangers or pregnant women can ruin the dye. Like the weaving techniques, the recipes for dyeing are closely guarded family secrets and the formula is usually passed down from mother to daughter. There are a number of dye-yielding plants. Weavers obtain dyes using simple methods from barks, flowers, fruits, leaves, and roots of plants, and minerals. Today, chemical or synthetic dyes called tsho-sar are easily available while the natural dye is called tsho nying. They are easily recognisable by their hue. Some of the natural dyes obtained from plants are described below. - Indigo: Shades of green, purple, blue and black are obtained from leaves of trees locally called yangshaba (Strobilanthus flaccidifolius) in Tshangla dialect. Indigo (lndigofera spp.) plants are cultivated in household gardens as a source of blue dye. Alum earths, sour fruits, and dug shing (Symplocos) leaves are used as a mordant in dyeing to fix the colouring matter. Indigo plant leaves are fermented for two weeks, and then passed through acidic ash water. - Lac: Jatsho (Lacifer lacca) is an organic dye that produces colours ranging from pink to deep red. Lac is boiled in water until it becomes sticky dough. The pulp is mixed with roasted wheat and allowed to ferment for 10 days. The selected yarn is then put into the boiling mixture until the colour gets absorbed. Churoo (Phyllanthusemblica) is used as a fixating element in dye. - Madder: Dried stems and leaves of madder called tsoe (Rubia cordifolia) are chopped into small pieces. This material is boiled together with the yarn to produce several colours ranging from pink to deep red. It is good for dyeing raw silk, cotton and wool. Madder can be preserved in dry place for years. The ripe berries of berberis, locally called kepatsang (Berberis aristata) are used as a source of red colour, while the barks of nut of the walnut tree can be used to obtain orange colour in woollen yarns. - Pangtse: Leaves from pangtse shing (Symplocos paniculata) are gathered from the forest, which can be used fresh or dried, to make yellow colour .Pangtse leaves are boiled in water along with woollen yarns. The yarn is then allowed to drip. Sometimes, yung ga (Curcuma longa) or turmeric is also used to obtain a bright yellow colour. Lemon, also called churoo (Emblica officinalis), variety of other berries, herbs, plants, and roots are used along with alum mordant to boost colours in the yarn. However, since dyed yarns from India are available at cheaper price, only a few Bhutanese weavers practise the tradition of natural dyeing processes these days.

National Intangible Cultural Heritage, Republic of Korea Yundojang means the skill of making a geomantic compass with 24 directions marked in a circle or an artisan with such a skill. Yundo is a tool used by a geomancer when looking for a propitious site for a house or tomb. Its name appears in literature dating from the Joseon Period (1392 – 1910). This tool was first used during the late Silla Period (circa 57 BC – 935 AD). Geomancers used it in the early Goryeo Period (877 – 1394) as one of the most important tools in the practice of feng shui and yin-yang geomancy During the Joseon Period, even ordinary travelers came to use it. Astronomers used it to designate the meridian for their portable sundials. Yundo shows the names of the twenty-four basic directions written around a magnetic needle at the center. Shown also on its face are the cosmic dual forces of yin-yang, the five basic elements, and eight trigrams for divination, ten calendar signs and twelve zodiac signs. The names of directions themselves are a combination of the eight trigrams, ten calendar signs and twelve zodiac signs.

National Intangible Cultural Heritage, Republic of Korea Yaryu is a custom of Ogwangdae (mask dance drama) that was first performed in the inland areas of Gyeongsangnam-do but spread to Suyeong, Dongnae, and Busanjin. Yaryu literally means playing in an open field. This mask play was performed by non-professionals like villagers. Dongnae Yaryu was performed on the evening of the full moon of January 15 on the lunar calendar, supposedly to pray for a good year for crops. Dongnae Yaryu was said to have been started about 100 years ago after its cousin performed in nearby Suyeong. Now performed as an entertainment, it is composed of four acts: leper dance, gag exchanged between a yangban (nobleman) and Malttugi (servant), Yeongno (therianthropic character)’s dance, and old couple’s dance. Members of the troupe march to the site of performance while playing music. The main subject of the performance is a satire about nobles. The masks are made of gourds. The chin part of the masks is made movable, moving upward and downward while its wearer delivers a gag. The play is performed to the accompaniment of percussion instruments, which play exorcist music. Malttugi’s dance and nobleman’s dance are the leading performances. Obangsin (Deities of the Five Directions)’s dance, satire about deprave monks, and lion dance -- which are usually included in Ogwangdae mask dance drama -- are not performed in Dongnae Yaryu.

National Intangible Cultural Heritage, Republic of Korea The Dano Festival held in Jain-myeon, Gyeongsan-si, Gyeongsangbuk-do is said to originate from a legend handed down in the village. During the Silla and Goryeo Periods, Japanese pirates frequently invaded coastal areas. A military general disguised himself as a woman and danced with his sister and clowns to entice the pirates, thereby winning a victory against the invaders. After his death, villagers built a shrine for him and held a sacrificial rite there on Dano (May 5 on the lunar calendar). During Gyeongsan Jain Danoje, villagers gather together in the square in the center of the market and hold a masquerade parade toward the tomb of the general. Standing right in the front is the bearer of a flag indicating the five directions, followed by one bearing a farm flag, and one carrying a tall (3m high) decorative crown. These are followed by dancing men, Higwangi (a character), a man disguised as a woman, military slaves, officers, cannon troops, gisaeng (female entertainers), troops, petty officials, a wide sun screen, the military commander, and the commander’s lieutenants. The paraders go around the tomb and return to the village square, while officiants hold a sacrificial rite at the tomb. The masquerade parade is a feature that distinguishes Gyeongsan Jain Danoje from other folk festivals. The dance movements are also unique. Lying at the heart of the festival is people’s deep-rooted respect for a person who protected their village. ※ Change in the name of the event (General Han Play → Gyeongsan Jain Danoje in March 2007)

Also called Nghinh Ong festival, held on May 10, 11 and 12, to show the gratitude of fishermen for the sea. It has been maintained for more than 90 years with a larger scale each year than the previous year. The ritual is conducted according to tradition, consisting of 6 main parts: going to Mr. Nam Hai by sea ship; anniversaries of predecessors; chánh tế; chánh tế bà Chúa; go to the five directions and send the ship out to sea. Nam Hai's ceremony is the first official ceremony. The celebrant dressed in formal attire sat on the ship with the best harvest of the previous sea season, leading the train out to sea to bring back the spirit of Đức Ông. The festival has many activities to serve the entertainment needs of local fishermen and tourists such as organizing fairs, performing arts, folk games, and sports competitions.

"Plowing” has been a traditional royal ceremony of the Khmer kings since ancient times. That is why to this day, the Royal Palace still plays an important role in organizing this ceremony. The rainy season, a king or a representative plow the fields to be the first to follow the path, because in the belief, the king is considered a deity who is in human appearance to rule over the kingdom. Therefore, the king is the king of the earth or the lord of the earth, that is, the "master of the field." On the other hand, even though the king does not farm directly, this ceremony shows the king's concern for the livelihood of the people. The plowing ceremony is also to pray for good rain according to the season, abundant harvest, prosperous district and free from all diseases. The history of the Khmer plowing ceremony probably dates back to the time when the Khmer came to know Indian civilization, as there are statues of Preah Pol Ream or Preah Tep (the avatar of Preah Nareay), the main deity of agriculture, holding a plow in Phnom Da (Takeo province) since pre-Angkorian times. Preah Pol Ream is probably quite popular, as there are sculptures in Banteay Srei, Angkor Wat, Baphuon, Banteay Sarae .... In the inscriptions, there are names of Preah Pol Ream who have different functions in the temple and are known as the name of Preah Pol Ream, for example, "សង្កស៌ណ" which means "plowed" or "pulled out". The evidence that Preah Pol Ream was the god of agriculture became clearer in the Middle Ages: the role of an official in charge of agriculture in the whole country is called "Oknha Pol Tep" and until the law governing this field, the Khmer people called it "Krom Pol Tep" (or called "Krom Peak Huk Pol Tep"). Therefore, it is not a coincidence that Preah Pol Tep, a deity, has a duty in the Royal Plowing Ceremony. His image was on a flag that was solemnly flown at the ceremony. Not only that, they built a statue of Preah Pol Ream (modeled after the statue of him at Phnom Da temple) in a stall for the ceremony and offerings that emphasize the importance of Preah Pol Ream in the plowing ceremony. Every year, the Royal Plowing Ceremony is held on the 4th of Roch Pisak (May-June), the beginning of the rainy season, and is celebrated in a designated field, sometimes in the capital and sometimes in the provinces. If it is done in Phnom Penh, the field of Preah Meru is used, and if it is done in Siem Reap, the field in front of the terrace of the elephants is used as the field. Before the day of the ceremony, they usually build a pavilion at Veal Preah Srae and other five pavilions as a place where the deities can watch the plowing from all five directions. According to tradition, before the 4th day of Roch, Visakh, from the 1st day of Roach, 2nd Roach and 3rd Roach, 5 Brahmins perform the Pali ceremony in the middle of Preah Srae to ask permission from Krong Pali, Preah Phum and Neang Kong Hing Preah Thorani Ceremony. After offering to Krong Pali, it is time to offer to Deva Rub in the ceremony hall by inviting Preah Panchakset (other Devarub) to be displayed in the ceremony hall and to hold ceremonies in the five directions. In the east, the Brahmins Preah Reach Kru invited the Preah Komjay to set up and perform Horm ceremonies. In the southeast, the Brahmins Thireach invited Preah Narayan to set up and perform Horm ceremonies. In the southwest, the Brahmins Preah Jeak Yea Thib Dei invited the Preah Chanti to set up and perform Horm ceremonies. In the Northwest, the Brahmin Preah Minthor (Mahenthor) invites Preah Ey So to set up and perform Horm ceremony. The northeast, the Brahmin invited Preah Kanes, to set up and perform Horm ceremonies. When the Brahmins perform the ritual for three days, the fourth day is the day of plowing. Previously, the king was the direct plowman. But if he does not perform this, a representative of Oknha Pol Tep must be appointed. If Oknha Pol Tep had other business, Oknha Pochnea was assigned to replace from time to time. Nowadays, it is rare to see a king plowing, often his representative, sometimes as a royal family and sometimes as a high-ranking official in the government. Representing the King is called "Sdach Meak”, wearing a robe like the King is a plowman." As for the wife of King Meak, called "Chumteav or Preah Mehua", she wears a robe in the manner of the king's wife, who sows rice crops. Early in the morning ... King Meak and Neang Mehua went to worship His Majesty to be appointed. The king put incense on the foreheads of the king Meak and his wife as a symbol of appointment, and the King gave Sdach Meak a sword. Meak. The King Meak holds his sword and travels to the procession which is waiting. The King Meak sits on Preah Sor Leang, and Preah Mehua sits on a hammock accompanied by a procession led by the music of Pin Peat (play the song called Klom). Upon entering the Royal rice fields, King Meak and Preah Mehua must worship at the southwestern center before starting the plowing ceremony. This plow has three plows: the front plow is called "Lead plow", the middle plow is held by the king Meak and there is another plow in the back. Preah Mehua must follow the third plow and sow the seeds such as the sesame, bean, corn, and the rice crops following the path. After plowing three rounds of the royal rice fields, the plowing procession stopped at the eastern Mondob so that the king Meak could enter to worship the deity of the Mondob. The last task is for the Brahmin to perform a prayer ceremony, the cows are removed from the yoke of the plow to eat the seven kinds of food prepared on a table with pedestal dishes, including water, rice, grass, corn kernels, sesame seeds, beans and wine. The cow’s prediction is predicting the well-being and productivity of the people this year. If the cows drink a lot of water, the prophecy predicts that this year there will be enough water and enough rain. If the cows eat a lot of grass, the animals will get sick. If the cows eat a lot of rice, beans and sesame, these crops will bear a lot of fruit. But if the cows do not eat, the prophecy is that this year there will be wicked people, many drunkards, and the nation will suffer and war. At the end of the ceremony, people, young and old, compete to pick rice, corn, and soybeans to be used for seed, because it is believed that when all these seeds are mixed with their own seeds, the yield will be good. What is special is that Cambodians believe that when everything goes through the ceremony, "Mongkol, Serey Soursdey, the yield will come.

National Intangible Cultural Heritage, Republic of Korea Ogwangdae refers to a mask dance played in southern areas. “O” in the name Ogwangdae is said to have stemmed from Ohaengseol (Five Element Theories). This was one of the rites villagers performed at the beginning of the year in the lunar calendar. On the night of the New Year’s Day, people held the rite of Cheollyongje (Rite to the Heavenly Dragon). On the night of the year’s first full moon (January 15 on the lunar calendar), they performed jisin bapgi (“earth spirit treading”) followed by the Ogwangdae Dance. Gasan Ogwangdae is composed of six acts, Obangsin (Deities of the Five Directions)’s Dance, Yeongno Dance, Leper’s Dance, Nobleman’s Dance, Monk’s Dance, and Dance of the Old Couple. The play includes satire about nobles harassing commoners, depraved monks, and male chauvinism as it appears in the custom of allowing a man to take multiple wives. Gasan Ogwangdae Nori is distinguished from the versions performed in other areas, as it includes Obangsin’s Dance with the story that the husband dies at the end of the play unlike the other versions in which the wife dies. One or two lepers appear in the other versions, but this one, performed in Gasan-ri, Chukdong-myeon, Sacheon-si, Gyeongsangnam-do, has five lepers who dance, sing, and engage in tujeon nori (card game).

Inscribed in 2009 (4.COM) on the Representative List of the Intangible Cultural Heritage of Humanity 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. Designated Important Intangible Cultural Heritage on January 8, 1971, Cheoyongmu is a grandiose, mystic dance performed by male dancers. At the end of the Silla Kingdom (57 B.C. – A.D. 935), King Heongang went on an excursion to the seaport of Gaeunpo (present-day Sejuk Village area in Hwangseong-dong) 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 Akhak Gwebeom, or 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 eolnak. 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 sanjak hwamu (“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 samhyeon dodeuri (slow 6/4 beat music by three strings). After the dances of suyang sumu (“Dangled and Raised Hands Dance”) and mureup dipimu (“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 nakhwa yusu (“Falling Petals and Flowing Streams”) to the music of songgu yeojigok (a sort of dodeuri). In 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.

South Korea 2009