Throughout the years, I have been researching Korean recreational activ-ities, and among them, the tug-of-war was definitely the most central theme. According to my research, the Korean tug-of-war has many different fea-tures following the different regional characteristics, but they also have similar patterns. Although it is possible to speculate that the diverse characteristics of each region’s tug-of-war is due to the area’s geo-ecological, sociocultural, and magi-co-religious factors and culture exchange, it is difficult to prove these factors in depth. Thus, this paper examines the diverse features present in the tug-of-war through studies completed up to now. Also I would like to add that the only intent for the tug-of-war studies was to compile and examine them in this report. Despite many methods in examining the diversity of tug-of-war, this paper sets a few standards to reveal the present features, and with these standards, the meaning of Korean tug-of-war can be understood.

Abstract: In this paper, the author discusses a diversity-focused approach to musical instruments, using Japanese traditional instruments as an example. In Japan, there are safeguarding systems in place to protect not only the performing arts and its performers, but also the techniques used for making musical instruments, instrument makers. . Simultaneously, there are many musical instruments of the same historical origin throughout Asia. Approaching the musical instruments in a new framework – one which includes the performers and instrument makers – adds new perspectives such as the natural environment, traditional knowledge, and methods for accommodating the conditions specified for each era. If we apply this perspective to Asian musical instruments, we may be able to discover new stories of diversity that connect musical instruments.