Materials
folk dance
ICH Materials 253
Publications(Article)
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Pala Gaan: A Popular Traditional Bangladeshi Performing Art FormPerformed by singers in rural areas of the greater Mymensigh region and greater Dhaka region, Pala Gaan is a theatrical experimentation using a combination of indigenous references and timely rhetoric. Typically the shows begin with Guru Bandana (an artistic expression of showing respect to God and then to the mentor from whom the Bayati learned the performance). It is followed by Ashon Bandana (an artistic expression that pays tribute to the audience).\n\nThe lead singer of Pala Gaan is called bayati, who narrates stories, tales, and legends through music incorporating dance and dialogues. After a short musical prelude, the bayati starts narrating the tale. A group of choristers helps the bayati in the entire performance. During the narration, the bayati enacts different characters such as king, queen, prince, rural maiden, ghost, and animal using limited props. Pillow and scarf are typically seen as the props used by the bayati. Dohar, a member of the choir, helps the bayati by giving cues during the act. In an open stage performance, the bayati singer takes the center of the stage while the choir sits aside.\n\nIn Pala Gaan, the narrative is thickened by improvisation to make it relatable, giving the audience a time to think through it. As a result, a tale may have multiple versions depending on the taste of who performs it. Though ancient texts are central to Pala Gaan narratives, serious issues such as love, position of women in a patriarchal society, discrimination, and oppression can also be addressed. And when a show is held for an urban audience, urban issues, even the ones taken from global politics, can also be artistically twisted. Charming narrations and realistic portrayals of characters are special features of Pala Gaan, enriching the use of dialects and folk rhythms.\n\nPhoto : Islamuddin Palakar from Mymensingh, presents a Pala Gaan © Mumit MYear2017NationBangladesh
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Bangla New Year Welcomed with Mangal ShovajatraIn the morning of 14 April Bangladesh ushered in Bangla New Year 1425 on Pahela Baishakh, the first day of the Bangla calendar, by bringing out Mangal Shovajatra, a UNESCO inscribed ICH element.\n\nClad in colorful punjabis and saris, people from all levels of society took part in Mangal Shovajatra parades hoping rid themselves of past evils and begin a better future.\n\nThe biggest and most attractive Mangal Shovajatra parade was at the Dhaka University in the capital city Dhaka. Hundreds of people carried student and faculty artworks representing evil and good. Similar processions were brought out in all districts.\n\nMoreover, Baishakhi Mela (fair) displaying traditional food and artwork, cultural programs, and other events were held across the country.\n\nAt sunrise, thousands of people gathered at Ramna Batamul, the main venue of the Dhaka celebrations, where Chhayanaut, a cultural organization, has been holding an annual music soiree since 1965 to welcome the Bangla New Year.\n\nOther government and private cultural organizations held Pahela Baishakh celebration programs that included traditional music and performances along with recitations, contemporary songs, and dance.\n\nOn 14 April, the Bangladesh Shilpakala Academy held special programs at its open field in the afternoon and at the National Theatre Hall in the evening. The programs featured lathi khela (tricks with sticks), songs, dance, and acrobatics. The academy also held programs, in association with different organizations, at Mirpur, Uttara, and Old Dhaka in the morning.\n\nIn such events traditional troupes from Manikganj, Chapai Nawabganj, and other places displayed lathi khela and presented different folk music genres like gambhira. Renowned singers, dancers, and recitation artistes also performed at the program organized by the academy.\n\nAt the Bangbandhu International Conference Centre in Dhaka, over one thousand singers performed in a chorus in an open-air concert organized by the Shurer Dhara music school.\n\nThe Bangla Academy welcomed Bangla New Year through a program featuring a discussion and cultural show at Rabindra Chattar. The Bangla Academy also organized a five-day folklore workshop for folklore experts from Bangladesh, India, and the USA.\n\nBangladesh Small & Cottage Industries Corporation in association with Bangla Academy organized a ten-day Baishakhi fair featuring traditional sweets, books, craft items, and other culture events.\n\nSammilita Sangskritik Jote held a cultural program at Dhanmondi’s Rabindra Sarobar.\n\nThe Bangla year with its first month, Baishakh, was introduced during the rule of Mughal Emperor Akbar the Great (1542–c. 1605).\n\nThe day is a public holiday. All radio and TV channels air special programs while newspapers publish special supplements.\n\nWhile Bengalis celebrate Pahela Baishakh, the hill communities of the Chittagong Hill Tracts celebrated Baisabi. Baisabi is a term formed by the first syllables of the Baisuk Tripura festival, Marma’s Sangrain, and the Biju Chakma festival or Tanchangya’s Bisu.\n\nPhoto : People from all levels of society participate at the Mangal Shovajatra parade on 14 April welcoming the Bangla New Year © Snaul Haque/ New AgeYear2018NationBangladesh
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The festival of harvest: OnamOnam is a major harvest festival celebrated in the Indian state of Kerala. The 10-day Onam festival marks the onset of the first month according to the Malayalam calendar called Chingam and generally occurs in the months of August or September every year. Due to the COVID -19, the festival saw major restrictions, however, it was celebrated with much enthusiasm between 12th August until 23rd August 2021 keeping in mind all the COVID protocols.\n\nThe origin of the festival can also be traced from various regional sources. According to the folk song ‘Maveli Naadu Vaanidum Kaalam’, Mahabali was a very kind-hearted and generous king. Under his rule, there were no theft, lies, hunger, or jealousy among his people. It is said that people were so happy under his rule that they no longer felt the need to pray or make offerings to the Gods. He was beginning to rule all three worlds which infuriated Lord Indra and gods. To take control of the situation, Lord Vishnu took his fifth avatar of a Brahmin dwarf named ‘Vamana’. As Vamana, he appeared before Mahabali and made a wish for three feet of land for penance. In his first and second steps, he covered the heavens and the hell. Mahabali, seeing this, offered his own head for the third step. Impressed by this action, Lord Vishnu appeared as himself before Mahabali to bless him. Lord Vishnu granted a boon to Mahabali that he can visit his beloved people once a year. As a result, the homecoming of king Mahabali is celebrated as Onam.\n\nOnam combines elaborate festivities that include food, dance, cultural clothing, flower decoration, etc. Each house performs such functions with sheer enthusiasm and love for our culture while supporting agricultural practices. One of the most popular components of the festival is the food. Onam Sadhya is a multi-course meal that includes 26 different food items prepared with local ingredients. Some of the dishes include Rice, Avial (a dish prepared by cooking vegetables in mango and ground coconut), Olan, Sambhar, Rasam, banana and jaggery chips, Pappadam, followed by at least 2 varieties of Payasam (a milk-based sweet prepared with rice, wheat etc). These are only a handful of items prepared in the diverse state of Kerala also known as the land of spices.\n\nThe other aspects of the festival include elaborate decorations that include the extensive use of local and colorful flowers. Pookkalam (floor designs with flowers) are made every day of the festival and various games like Vadam Vali (tug of war), Puli Kali (folk art from Kerala), Vallam Kali (Boat Race), are played during the festival.\n\nThe festival is a great reflection of the cultural heritage of Kerala. Families are seen wearing traditional attires that include Kasavu/Set Sarees for women and Mundu for men. There is a tradition of gifting new clothes called Ona Kodi to other members of the family. The festival is celebrated with great energy with the enthusiasm of beginning a new year according to the Malayalam calendar in Kerala.\n\nThe author would like to thank and acknowledge the contribution of various people from Kerala including Aravind Nair, Kavya Nair, Mariam Rauf, Sarath Ninan Mathew, Vishnu Vijayan, and others who have shared valuable information about the festival.\n\nphoto 1 : Onam Pookalam © Yugaljoshi\nphoto 2 : Onam sadya © kavya_adigaYear2021NationIndia
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Section 3 Alternative RealitiesTuong (Hat Boi), introduced in this section, is a traditional Vietnamese classical drama that causes Vietnamese people to consider their past and present lives. Tuong, a kind of mask drama that combines music and dance, features distinctive makeup and costumes. It dramatizes Vietnamese folk tales or fables, and can also be based on scripts created with historical, political, social, and cultural settings. It portrays figures from various walks of life including kings, queens, generals, maids, ladies, and students, and aesthetically depicts lessons on human deeds, such as sacrifice for the greater cause, and heroic characters.Year2023NationViet Nam
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Mongolian Culture and HeritageThe culture of the Central Asian steppes expresses itself vividly in the lifestyle of traditional nomadic practices. Mongolian culture has been in practice in the nomadic life and the traditions surrounding the nomad’s home (ger). And it is present in religious celebrations, national festivals, art and crafts, music and dance, language and literature, which form the backbone of Mongolian intangible cultural heritage of Mongolia. Mongolia is filled with valuable cultural properties and intangible cultural heritage of humanity that have been kept or practiced for thousands of years.\n\nGer, Mongolian Traditional Dwelling\nThe traditional architecture of the Mongols differed strongly from that of the settled peoples of Asia and other continents. Centuries ago, there the ger, also known as a yurt, appeared. It still offers shelter to nomads in particular places in Central Asia. Its development and fundamental principles are determined by the specific features of the way of life of Mongol tribes, which made it necessary to evolve a light and collapsible structure to be used as a dwelling or for public functions.\n\nMongolian Language and Literature\nMongolian is the language of most of the Mongolian population and inner Mongolia. By origin, Mongolian is one of the Altaic family of languages, and the history of the Mongolian language is long and complicated. Significant literary work of early Mongolia includes The Secret History of the Mongols, which was published in 1228).\n\nMongolian Religion and Beliefs\nThe Mongols have practiced several religions, of which Shamanism and Buddhism were the most common. The faith in Mongolia is Buddhism, though the state and religion were separated during the socialist period, but with the transition to the parliamentary republic in the 1990s, there has been a general revival of faiths across the country\n\nMongolian Art and Crafts\nMongolian arts and crafts have been passed down across generations from the Paleolithic times to today, leaving behind deep impressions on all facets of life and conscious, aesthetic, and philosophical thinking. Highly developed Mongolian arts and crafts come from the second millennium BCE. The works included sculptured heads of wild animals with exaggerated features. Other items include knives, daggers, and other items of practical and religious use.\n\nMongolian Music and Dance\nMusic is an integral part of Mongolian culture. Among Mongolia’s unique contributions to the world’s musical culture are the long songs, overtone singing, and morin khuur (the horse-headed fiddle). The music of Mongolia is also rich with varieties related to the various ethnic groups of the country. Among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs written by contemporary authors in the form of folk songs.\n\nHorse Culture of Mongolia\nIt is famously known that horses play a large role in the Mongols’ daily and national lives. Common sayings are, “A Mongol without a horse is like a bird without wings,” and “Mongols are born on horseback” these are arguably true words. Even today, horse-based culture is still practiced by nomadic Mongolians.\n\nVisit https://www.toursmongolia.com/tours for additional information about Mongolian culture.\n\nPhoto 1 : Prairie meadow grass inner Mongolia traditional clothing © Batzaya Choijiljav\nPhoto 2~7 : © Batzaya ChoijiljavYear2020NationMongolia
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“Tết Trung thu” – an element contains traditional intangible cultural valuesWhen the festive activities of Lunar July ends, it is the beginning of “Tết Trung thu” (or “the Mid-Autumn festival”). It usually falls out on the 15th day of Lunar August when the weather turns a little cooler after the unpleasantly hot summer. In Vietnam, this event has many humanistic meanings such as: regarding as “family union holiday”, thanksgiving to the nature Gods for the harvest and growth of life, praying to ask the blessings for families and relatives. As time went by, it is known as the Children’s festival because of its pureness and closeness to the natural world. Moreover, watching the moon’s color on that day can predict the harvest as well as the national destiny: namely, the successful silk-making season (golden moon), natural disasters (blue moon), peaceful country (orange moon).\n\nAlthough the origin of “Tết Trung thu” is not really clear, Vietnamese people still practice it as an intangible cultural heritage (ICH) belonging to ancient wet-rice civilization. There have been several folktales about it: the story of Hằng Nga (Moon Lady), the legend about the woodcutter named Cuội, the tale of the king went to visit the moon, ect. And the oral tradition of Cuội was the most popular story and it reflects the Vietnamese folk identity. It is said that Cuội’s absent-minded wife poured dirty water on a magic tree which caused it to fly towards the moon. He failed to pull the tree back and stuck with it on the moon. Therefore, children often carry colorful lanterns on the full moon night of Lunar August to help him find the way back to Earth.\n\nVietnamese people spend whole a month preparing for the celebration. Some outstanding customs indispensable on the brightest moon night include:\n\n– Worshiping the natural Gods: This practice demonstrates knowledge concerning nature and the universe of indigenous people. The mid-autumn day is the occasion to show their respect to the natural Gods and ancestors. Besides, the worshiping tray with five kind of fruits (representing the universe’s five elements), moon-cakes with many unique shapes including two main types: “bánh dẻo” (symbol of reunion) and “bánh nướng” (meaning of life’s taste), toys which expressed the desire for a good harvest year, a happy and reunited family.\n\n– Enjoying traditional mid-autumn specialities: After the full moon rises, when the Gods and ancestors have received the devotion of living people, it will be time for everyone to enjoy the fruits and cakes together. It can be said that gathering in the moonlight is a traditional practice and also a rare time of year for everybody to gather and show the connection between family members.\n\n– Carrying lanterns: For Vietnamese children, the traditional lantern is the most meaningful gift to parade in the Mid-Autumn festival. The making lantern is considered as one of the famous traditional craftsmanship of agricultural residents as well. Traditional lanterns are made from bamboo and cellophane, going through many stages. There are many lantern shapes designed with folk symbolic meanings: the star lantern shows the purity of children, the rabbit lantern represents the moon, the toad lantern describes a desire about favorable weather for crops, the carp lantern stand for wishing peace and prosperity, ect.\n\n– Performing the unicorn dance: This performance art originated from the folk legend about the unicorn. Legendarily, unicorn was very aggressive and often caused trouble for human. Then “ông Địa” (the character incarnated by Maitreya Buddha) appeared and tamed it into a sacred animal to bless everyone in annual Mid-Autumn festival. Hence, the simulation of “ông Địa” hanging out with his unicorn among the children’s lantern lights is an unforgettable image in this festival.\n\nIn general, “Tết Trung thu” in Vietnam retains positive traditional elements in the modern time. It still has attracted the younger generation and directed them to the values of truth – goodness – beauty which are inherent to the festival. As an element that covers most of the specific domains of ICH, Vietnam’s Mid-Autumn festival has its own identity despite the great impact of globalization in its culture and the recent transformation of customs.\n\nPhoto : The worshiping tray with an identity of agricultural residents © Hoang The PhucYear2019NationViet Nam
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SHAMANISM, THE DISTINCTIVE CULTURAL HERITAGE OF KOREAKorean shamanism is a collective term to designate a religious folk tradition that includes private, domestic, and communal rituals. Shamanism is an accumulation of five thousand years of Korean life, thought, and culture, so it is a representative folk belief of Korean society. It also has played a key role as a carrier of traditional culture, such as music, dance, myth, and epic poetry. Furthermore, most Koreans, even though many of them are skeptical about shamanism these days, believe that shamanism helps preserve the deep-rooted national ethos. Indeed, the influence of shamanism is so prevalent that one might say that the worldview and symbolism found in shamanism constitutes Korea’s fundamental religious system.Year2012NationSouth Korea
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Section 5 Talchum, Mask Dance Drama in the Republic of KoreaTalchum, the Korean mask dance, is a unique art form that combines Korean history, tradition, faith, and folk elements. Talchum satirizes the lives of ordinary people and yangban, the aristocratic class. The Tal (mask), which depicts characters in the stories, implies characteristics and meanings of each region. In this section, thirteen mask dance dramas of the Republic of Korea inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2022 are introduced.Year2023NationSouth Korea
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Ganggangsullae Public Event, a Play under the MoonlightThe Ganggangsullae public event was held on the morning of May 22 at Unrimsanbang Square in Jindo-gun. Ganggangsullae, a UNESCO Intangible Cultural Heritage of Humanity and Korea’s National ICH, presents performances to the general public every year, sponsored by the National Intangible Heritage Center and the Korea Cultural Heritage Foundation. Ganggangsullae bearers and the members of the preservation committee performed at the event.\n\nGanggangsullae is a song, a dance, and a game. The basic composition of the song is that the lead singer sings the chant, followed by a group of people singing ‘ganggangsullae’. It was important to sing with good lyrics. Sometimes the singers quoted lyrics from pansori and folk songs, but also wrote lyrics about what he/she saw and experienced in his/her daily life. A good lead singer was so important that he/she was called from various villages during the Ganggangsullae season.\n\nThe basic dance with singing is to go round and round in a circle. Start by holding hands with the people on either side and skipping counterclockwise in a circle. Sometimes a person enters a circle and dances, forming several small circles, straight lines, and curves.\n\nThe exciting dance soon leads to play. The formation is moved between the round ganggangsullae, which is called sullaenori. Ganggangsullae and sullaenori together are called ganggangsullae.1. The game encourages the spectators to make a louder sound, and the yard is filled with people’s excitement through the round circles made by joining hands.\n\nTherefore, Ganggangsullae can be called a festival in name and reality. A big festival was held on the full moon in January, Baekjung in July and Chuseok in August, centering on the Southwest Sea coast, and a crowd of young people from the village led the game of Ganggangsullae. It was mainly led by women, but men and women performed together.\n\nPeople gathered in the yard of the wealthy noble men, the sandy beach, and the riverside sand. The villages were officially united to play, and there were people who climbed the mountain and crossed over to visit other villages. Ganggangsullae was a festival that excited young people to the point where they went on an expedition by hiking at night.\n\nPlay induces improvisation. In the past, there was no set order, nor formation, and people played however they wanted to play. Every little thing that they saw and experienced in their daily life became the lyrics of a song, and it became a song by adding melodies. The lyrics to sing along were different for each region. In this village, it was called ‘Ganggangsullae’, while in other villages it was called ‘Ugwangganggangsullae’, ‘ganggangdosullae’, ‘sullaeyaha’, and ‘gwanggwangsullae’.\n\nHolding hands can only be accomplished with someone else. The same goes for dancing and playing to the beat. In Ganggangsullae, a person can experience becoming a member of a community. Because we played together between people, generations, and villages, the things that were there and those that didn’t exist flowed and mixed with ease. It can be inferred that ‘Ganggangsullae’, which everyone sings together, has the power to give diversity and a sense of belonging.\n\nPicture 1: Ganggangsullae © Daejeon Metropolitan City, Korea Open Government License Type 1, Source\nPicture 2: Ganggangsullae of Haeundae Daeboreum © Busan Metropolitan City, Korea Open Government License Type 1. SourceYear2022NationSouth Korea
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Gavari: The Unwritten Epic of a Mewari TribeKalika is a Hindu goddess. Also known as Ambav and Gauri, she is a symbol of energy and female power for which she is worshiped by Bhil tribe of Mewar in a forty-day ritual called Gavari. The timeless, spiritually-motivated, and electrifying dance-drama is a crucial part of the rich Mewari tribe tradition. Their performance—a synchronized amalgam of ritual, dance, music, myths, folklore, and theatrical plays—can be a truly mesmerizing cultural experience. It needs not a formal stage yet maintains an attraction that keeps the audience engaged and involved.\n\nGenerally, the colorful Gavari performance holds on to the theme of “victory of the divine against the demon” and creatively retells folk tales, myth, and history, incorporating satire and contemporary issues in its short episodes. Performed only by the male members of the Bhil tribe, Gavari starts with and maintains a mimesis of the female power of Kalika. It is typically performed by ten to fifty members of the tribe, who are from different age range and have varied roles in the performance. Each performance has a vital message combined with spiritual invocations, which makes its telling more effective. The rising beats of Madal intensify the atmosphere in such a way that the audience can get into trance. Members of the Bhil tribe believe that they can be cured by the blessings of the main priest or by Kali. The Gavari performance splendidly presents stories carrying tribal wisdom. It also affirms simplicity, equality, communal harmony, consciousness, art appreciation, and upmost environment protection for sustainable development.\nEffects of modernity and globalization reaching tribal areas in India, however, have molded an abrasive attitude toward practices known to be “traditional”. In the last couple of decades, it was observed that the younger members of the Bhil tribe have less interest in keeping their tradition alive. They prefer to work as laborers than learning and performing Gavari. Gavari performance is seen to have no worthy benefit and thus must not be actively transmitted. This alarming situation may banish the purest form of performing art along with its music, stories, folk tales, songs, divinity, and wisdom, all particular to the southern part of Rajasthan, India.\n\nThe biggest challenge in safeguarding Gavari is to bring its identity and pride back to restore the ignored cultural heritage of Mewar. Enhanced visibility of Gavari performance at both national and international levels could help in realizing its socioeconomic benefits. Documentation, digitization, and dissemination art are very much needed to relocate this Gavari and its wisdom to next generations in a systematic manner. Through efforts of NGOs working in the ICH field such as the publication of the first pictorial book on it, film, and website, it is possible for people to have vicarious access to Gavari. Notwithstanding, more efforts are needed to protect the heritage of Bhil tribe.Year2017NationIndia
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Orteke Phenomena: The Story of the Most Mysterious Personage in Kazakh CultureOrteke art is an important part of the folk heritage and ethnic identity of Central Asia, admired by people both young and old. Orteke is a puppet of a mountain goat which dances under the control of a folk musician playing a dombra (traditional Turkic musical instrument with two strings). Cords link the fingers of the musician and the limbs of the wooden puppet, attached to the musical drum surface. When the musician plays, the puppet moves naturally and jumps following the rhythm. It is quite difficult to imagine how all this works.\nThe Orteke art organically amalgamates dombra sounds, the dance of a goat, and vocal exercises by the musician-puppeteer. The puppet itself is a craft masterpiece. Each time the goat dance is performed in a new way, emphasizing the skill of the performer. Orteke ultimately makes a strong impression on any viewer.Year2023NationKazakhstan
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Cheoyongmu, the New Year’s Eve DanceIn the traditional society, on New Year’s Eve, the day before January 1st of the lunar calendar, the civilians and the royal court held a Narye ceremony to welcome the new year. Narye is an event to drive out the evil spirits of last year and pray for peace. In the private sector, green bamboos with nodes were burnt to make explosive sounds in order to frighten the evil spirits way from the house. Even in the royal court of the Joseon Dynasty, they wore a naryero mask and walked around the palace playing jegeum(Korean cymbals) and drums. This ceremony is the Cheoyongmu (meaning Dance of Cheoyong), a UNESCO Intangible Cultural Heritage of Humanity.\n\nCheoyongmu is based on the Cheoyong tale. Records related to Cheoyong can be found in Samguk Yusa, the historical book. According to records, Cheoyong was a person during the reign of King Heongang of Unified Silla. Cheoyong discovers that while he was away from home, the spirit of plague comes and secretly slept with his wife. However, Cheoyong sang and danced and withdrew, and the spirit who repented of his mistake by Cheoyong’s attitude vowed not to appear before him again. Afterwards, in private houses, the image of Cheoyong was attached to the gate to ward off the bad spirits, and Cheoyong took on the meaning of driving out evil spirits and welcoming auspicious events.\n\nBecause of this story, Cheoyongmu was an indispensable dance in the royal court narye. The current Cheoyongmu was prepared during the Joseon Dynasty and is performed by five male dancers. The dancers wear blue, white, red, black, and yellow robes and a Cheoyong mask decorated with tin earrings, peonies, and peach fruits on red skin. All of these decorative elements of the masks symbolize as the amulets of warding off the bad spirit and welcoming the auspicious events. Cheoyongmu has its origins in the aforementioned period of King Heongang of Unified Silla, and has been transmitted to this day. As the historical origin is long, it has rich artistry and value, and in recognition of this, it was registered as a UNESCO Intangible Cultural Heritage of Humanity in 2009.\n\nCheoyongmu has freely crossed between the civilian and the royal courts, spreading through in various forms such as dance, writing, and oral tradition, resulting in many changes and developments. Today, Cheoyong is recreated and enjoyed as a “living heritage” with various popular cultural contents such as creative dance, animation, and drama, and Cheoyong’s long vitality and symbolism are noteworthy. The reason is that court dance which had strict content and form and was an art for the few, is passively reproduced and slowly approaching the public as opposed to folk dances combined with various media and styles in modern society.\n\nIn the past, before the development of science and medicine, in traditional societies that were vulnerable to natural disasters and diseases, amuletic events such as Cheoyongmu were held to prevent diseases and bad luck in the New Year. In modern society, amuletic rites are no longer held at the national and private level, but people today are living with the rites of passage for the new year, such as eating red bean porridge or ringing of the Bosingak bell. The new year is a time when hope and anxiety for the future intersect. Even if the way of living in the past and the present changes and the form and method of spending the old year and welcoming the new year are different, wishing for good luck will be the wind that runs through the century. I conclude this article with a speculation that these winds may be bringing life to the 21st century Cheoyong.\n\nphoto : Cheoyongmu © Taewook KimYear2022NationSouth Korea