Dano Jojeonje (Morning Ritual) is held every morning at 10:00 AM from May 4th to May 8th of the lunar calendar, when the Danoje Festival takes place, at the Dano altar. As the Danoje Festival is a ritual to pray for a bountiful harvest and peace throughout the Gangneung and Yeongdong regions, the heads of organizations and institutions in Gangneung serve as heongwan (ritual officials) to perform the sacrificial rites.

Gangneung Danogut is the core traditional ritual of the Gangneung Danoje Festival, a Daedonggut-style (grand communal ritual) gut that serves Guksa Seonghwangshin (the Guardian Deity of Daegwallyeong Pass) and invites various other deities.

The ritual begins with the Shinju Bitgi (brewing the sacred liquor) on the 5th day of the 4th lunar month, and the sacred tree of Daegwallyeong is escorted on the 15th day of the 4th lunar month. Then, through the Yeongsin Haengcha (Welcoming the Deities Procession) on the 3rd day of the 5th lunar month, the sacred tree is enshrined at the Namdaecheon Stream Gutdang (ritual hall), after which various gut rituals are performed continuously from morning till evening until the day Dano ends.

A key feature of Gangneung Danogut is that it is performed by seseubmu (hereditary shamans) who have inherited the shamanic profession through generations within their families. Unlike those who undergo spiritual possession, these hereditary shamans are professional shamanic priests who perform rituals based on the shamanic knowledge and skills passed down to them since childhood by parents, siblings, or relatives, possessing outstanding artistic talent.

In Gangneung Danogut, about 20 gutgeori (ritual procedures) are performed, serving a wide variety of deities. These include the main deities—Guksa Seonghwangshin and Guksa Yeoseonghwangshin (the Female Guardian Deity)—as well as the Mountain Deity, the deity overseeing childbirth and production, the deity granting longevity, the deities protecting the village and household, the deity granting wealth, and the deity warding off diseases. To truly witness and understand the meaning of the Gangneung Danoje Festival, one must see the Danogut.

Jemyeongut is a gut (shamanic ritual) that recites a narrative shamanic song (seosamuga) about the process of Jemyon-halmeoni (Grandmother Jemyon), the Mujo-shin (ancestral deity of shamans), settling in as a deity, and it invites and treats the soul of Jemyon-halmeoni. In Jemyeongut, Jemyonteok (Jemyon rice cake) is required, and this Jemyonteok is a "seed" that the shaman distributes to the audience; when going to the fields, it is the seed for crops; in the sea, it is the seed for fish; and when going home, it is the seed for descendants. Many people wait for Jemyeongut to receive Jemyonteok, which symbolizes the seeds of descendants and crops.

Gangneung Danogut is the core traditional ritual of the Gangneung Danoje Festival, a Daedonggut-style (grand communal ritual) gut that serves Guksa Seonghwangshin (the Guardian Deity of Daegwallyeong Pass) and invites various other deities.

The ritual begins with the Shinju Bitgi (brewing the sacred liquor) on the 5th day of the 4th lunar month, and the sacred tree of Daegwallyeong is escorted on the 15th day of the 4th lunar month. Then, through the Yeongsin Haengcha (Welcoming the Deities Procession) on the 3rd day of the 5th lunar month, the sacred tree is enshrined at the Namdaecheon Stream Gutdang (ritual hall), after which various gut rituals are performed continuously from morning till evening until the day Dano ends.

A key feature of Gangneung Danogut is that it is performed by seseubmu (hereditary shamans) who have inherited the shamanic profession through generations within their families. Unlike those who undergo spiritual possession, these hereditary shamans are professional shamanic priests who perform rituals based on the shamanic knowledge and skills passed down to them since childhood by parents, siblings, or relatives, possessing outstanding artistic talent.

In Gangneung Danogut, about 20 gutgeori (ritual procedures) are performed, serving a wide variety of deities. These include the main deities—Guksa Seonghwangshin and Guksa Yeoseonghwangshin (the Female Guardian Deity)—as well as the Mountain Deity, the deity overseeing childbirth and production, the deity granting longevity, the deities protecting the village and household, the deity granting wealth, and the deity warding off diseases. To truly witness and understand the meaning of the Gangneung Danoje Festival, one must see the Danogut.

Chukwongut is a gut (shamanic ritual) that offers prayers and blessings for the audience participating in the gut. It prays for the comfort and peace of households, the well-being of descendants, and abundance. When the Chukwongut is performed, one can see many elderly residents of Gangneung coming forward to burn sacred paper (soji) and make their wishes.

Gangneung Danogut is the core traditional ritual of the Gangneung Danoje Festival, a Daedonggut-style (grand communal ritual) gut that serves Guksa Seonghwangshin (the Guardian Deity of Daegwallyeong Pass) and invites various other deities.

The ritual begins with the Shinju Bitgi (brewing the sacred liquor) on the 5th day of the 4th lunar month, and the sacred tree of Daegwallyeong is escorted on the 15th day of the 4th lunar month. Then, through the Yeongsin Haengcha (Welcoming the Deities Procession) on the 3rd day of the 5th lunar month, the sacred tree is enshrined at the Namdaecheon Stream Gutdang (ritual hall), after which various gut rituals are performed continuously from morning till evening until the day Dano ends.

A key feature of Gangneung Danogut is that it is performed by seseubmu (hereditary shamans) who have inherited the shamanic profession through generations within their families. Unlike those who undergo spiritual possession, these hereditary shamans are professional shamanic priests who perform rituals based on the shamanic knowledge and skills passed down to them since childhood by parents, siblings, or relatives, possessing outstanding artistic talent.

In Gangneung Danogut, about 20 gutgeori (ritual procedures) are performed, serving a wide variety of deities. These include the main deities—Guksa Seonghwangshin and Guksa Yeoseonghwangshin (the Female Guardian Deity)—as well as the Mountain Deity, the deity overseeing childbirth and production, the deity granting longevity, the deities protecting the village and household, the deity granting wealth, and the deity warding off diseases. To truly witness and understand the meaning of the Gangneung Danoje Festival, one must see the Danogut.

Sejongut is also called "Sijungut," or "Danggeumaegigut" after the name of the female protagonist. It is a gut (shamanic ritual) that recites a shamanic myth about the birth of triplet sons through the union of Sejon, the deity overseeing production (childbirth), and Danggeumaegi. In Sejongut, which is recited as a narrative shamanic song (seosamuga), a janggu player (janggujaebi) and a female shaman (munyeo) usually recite the long shamanic song just by themselves.

The content of Sejongut is a story where, while her parents are away from home, Danggeumaegi forms a bond with Sijun, a Buddhist monk, and becomes pregnant. She is then expelled from her home, gives birth to and raises three sons by herself, and goes to find her husband with the sons. Sijun grants divine positions (shinjik) to the three sons and Danggeumaegi, so Danggeumaegi becomes Samsin (the Goddess of Childbirth), and the three sons also become deities overseeing production.

Gangneung Danogut is the core traditional ritual of the Gangneung Danoje Festival, a Daedonggut-style (grand communal ritual) gut that serves Guksa Seonghwangshin (the Guardian Deity of Daegwallyeong Pass) and invites various other deities.

The ritual begins with the Shinju Bitgi (brewing the sacred liquor) on the 5th day of the 4th lunar month, and the sacred tree of Daegwallyeong is escorted on the 15th day of the 4th lunar month. Then, through the Yeongsin Haengcha (Welcoming the Deities Procession) on the 3rd day of the 5th lunar month, the sacred tree is enshrined at the Namdaecheon Stream Gutdang (ritual hall), after which various gut rituals are performed continuously from morning till evening until the day Dano ends.

A key feature of Gangneung Danogut is that it is performed by seseubmu (hereditary shamans) who have inherited the shamanic profession through generations within their families. Unlike those who undergo spiritual possession, these hereditary shamans are professional shamanic priests who perform rituals based on the shamanic knowledge and skills passed down to them since childhood by parents, siblings, or relatives, possessing outstanding artistic talent.

In Gangneung Danogut, about 20 gutgeori (ritual procedures) are performed, serving a wide variety of deities. These include the main deities—Guksa Seonghwangshin and Guksa Yeoseonghwangshin (the Female Guardian Deity)—as well as the Mountain Deity, the deity overseeing childbirth and production, the deity granting longevity, the deities protecting the village and household, the deity granting wealth, and the deity warding off diseases. To truly witness and understand the meaning of the Gangneung Danoje Festival, one must see the Danogut.

Chukwongut is a gut (shamanic ritual) that offers prayers and blessings for the audience participating in the gut. It prays for the comfort and peace of households, the well-being of descendants, and abundance. When the Chukwongut is performed, one can see many elderly residents of Gangneung coming forward to burn sacred paper (soji) and make their wishes.

Gangneung Danogut is the core traditional ritual of the Gangneung Danoje Festival, a Daedonggut-style (grand communal ritual) gut that serves Guksa Seonghwangshin (the Guardian Deity of Daegwallyeong Pass) and invites various other deities.

The ritual begins with the Shinju Bitgi (brewing the sacred liquor) on the 5th day of the 4th lunar month, and the sacred tree of Daegwallyeong is escorted on the 15th day of the 4th lunar month. Then, through the Yeongsin Haengcha (Welcoming the Deities Procession) on the 3rd day of the 5th lunar month, the sacred tree is enshrined at the Namdaecheon Stream Gutdang (ritual hall), after which various gut rituals are performed continuously from morning till evening until the day Dano ends.

A key feature of Gangneung Danogut is that it is performed by seseubmu (hereditary shamans) who have inherited the shamanic profession through generations within their families. Unlike those who undergo spiritual possession, these hereditary shamans are professional shamanic priests who perform rituals based on the shamanic knowledge and skills passed down to them since childhood by parents, siblings, or relatives, possessing outstanding artistic talent.

In Gangneung Danogut, about 20 gutgeori (ritual procedures) are performed, serving a wide variety of deities. These include the main deities—Guksa Seonghwangshin and Guksa Yeoseonghwangshin (the Female Guardian Deity)—as well as the Mountain Deity, the deity overseeing childbirth and production, the deity granting longevity, the deities protecting the village and household, the deity granting wealth, and the deity warding off diseases. To truly witness and understand the meaning of the Gangneung Danoje Festival, one must see the Danogut.

Chukwongut is a gut (shamanic ritual) that offers prayers and blessings for the audience participating in the gut. It prays for the comfort and peace of households, the well-being of descendants, and abundance. When the Chukwongut is performed, one can see many elderly residents of Gangneung coming forward to burn sacred paper (soji) and make their wishes.

Gangneung Danogut is the core traditional ritual of the Gangneung Danoje Festival, a Daedonggut-style (grand communal ritual) gut that serves Guksa Seonghwangshin (the Guardian Deity of Daegwallyeong Pass) and invites various other deities.

The ritual begins with the Shinju Bitgi (brewing the sacred liquor) on the 5th day of the 4th lunar month, and the sacred tree of Daegwallyeong is escorted on the 15th day of the 4th lunar month. Then, through the Yeongsin Haengcha (Welcoming the Deities Procession) on the 3rd day of the 5th lunar month, the sacred tree is enshrined at the Namdaecheon Stream Gutdang (ritual hall), after which various gut rituals are performed continuously from morning till evening until the day Dano ends.

A key feature of Gangneung Danogut is that it is performed by seseubmu (hereditary shamans) who have inherited the shamanic profession through generations within their families. Unlike those who undergo spiritual possession, these hereditary shamans are professional shamanic priests who perform rituals based on the shamanic knowledge and skills passed down to them since childhood by parents, siblings, or relatives, possessing outstanding artistic talent.

In Gangneung Danogut, about 20 gutgeori (ritual procedures) are performed, serving a wide variety of deities. These include the main deities—Guksa Seonghwangshin and Guksa Yeoseonghwangshin (the Female Guardian Deity)—as well as the Mountain Deity, the deity overseeing childbirth and production, the deity granting longevity, the deities protecting the village and household, the deity granting wealth, and the deity warding off diseases. To truly witness and understand the meaning of the Gangneung Danoje Festival, one must see the Danogut.

Chukwongut is a gut (shamanic ritual) that offers prayers and blessings for the audience participating in the gut. It prays for the comfort and peace of households, the well-being of descendants, and abundance. When the Chukwongut is performed, one can see many elderly residents of Gangneung coming forward to burn sacred paper (soji) and make their wishes.

Gangneung Dano-gut is the core traditional ritual of the Gangneung Danoje Festival, a Daedong-gut style (grand communal ritual) gut that serves Guksa Seonghwangshin (the Guardian Deity of Daegwallyeong Pass) and invites various other deities.

The ritual begins with the Shinju Bitgi (brewing the sacred liquor) on the 5th day of the 4th lunar month, and the sacred tree of Daegwallyeong is escorted on the 15th day of the 4th lunar month. Then, through the Yeongsin Haengcha (Welcoming the Deities Procession) on the 3rd day of the 5th lunar month, the sacred tree is enshrined at the Namdaecheon Stream Gutdang (ritual hall), after which various gut rituals are performed continuously from morning till evening until the day Dano ends.

A key feature of Gangneung Dano-gut is that it is performed by seseubmu (hereditary shamans) who have inherited the shamanic profession through generations within their families. Unlike those who undergo spiritual possession, these hereditary shamans are professional shamanic priests who perform rituals based on the shamanic knowledge and skills passed down to them since childhood by parents, siblings, or relatives, possessing outstanding artistic talent.

In Gangneung Dano-gut, about 20 gutgeori (ritual procedures) are performed, serving a wide variety of deities. These include the main deities—Guksa Seonghwangshin and Guksa Yeoseonghwangshin (the Female Guardian Deity)—as well as the Mountain Deity, the deity overseeing childbirth and production, the deity granting longevity, the deities protecting the village and household, the deity granting wealth, and the deity warding off diseases. To truly witness and understand the meaning of the Gangneung Danoje Festival, one must see the Dano-gut.

Jital-gut (The Ritual of Masked Play and Conflict Resolution)
The name Jital-gut is derived from the fact that the performers wear masks made of traditional paper (tal). It is an independent Gutgeori (ritual procedure) performed exclusively by Nammu (male shamans), and among the shamans themselves, it is commonly referred to simply as Tal-gut (Masked Ritual).

Jital-gut vividly portrays the conflicts of ordinary people living their everyday lives. It is a highly satirical and humorous story that captures the joys, sorrows, anger, and pleasures of life, depicting a Yangban (nobleman) who becomes infatuated with a Gisaeng (courtesan), squanders his entire family fortune, and abandons his home, alongside the bittersweet journey of Halmi (the old wife), Ssakppuri, and Eodungi as they wander in search of the man who is their husband and father.

[Kkakji Wind Orchestra] is a cultural and arts organization founded in May 2018. Built upon a foundation of mutual respect and consideration among its members, the orchestra pursues both musical growth and the cultivation of a healthy community. Members from diverse age groups and backgrounds come together to communicate through the medium of music, placing great cultural significance on fostering intergenerational empathy and strong communal bonds. In particular, the wide age spectrum of its members—ranging from 17 to 82 years old—stands as the group's greatest strength, realizing a profound cultural value that bridges generations through music.

〈Dano: Breath and Sound〉 is a featured concert prepared to celebrate the Danoje Festival, a premier traditional holiday in Korea. Through the deep and rich tones of the saxophone, the performance showcases a diverse repertoire where tradition and modernity harmoniously intertwine.

The concert opens with the delightfully rhythmic "Taryeong March," instantly elevating the festive atmosphere. It continues with "The Boat is Coming In," expressing a vibrant and dynamic vitality where traditional sentiments blend seamlessly with hopeful energy. Following this, "Arirang Rhapsody" and "Shin Arirang March" deliver a profound resonance by modernizing the traditional melodies that encapsulate the very soul of the Korean people. Come and enjoy this performance set against the scenic backdrop of Gangneung, reflecting anew on the true meaning of Dano, and sharing a special, breathing moment where the audience and performers become one.

〈The Woosoo Itinerant Troupe〉 is an original creative Pangut (communal ritual music and dance) performance, uniquely designed to embrace the festive spirit and on-site vividness of the Gangneung Danoje Festival. The leader of this excellent troupe aims to showcase a spectacular performance at this year's festival, making their name widely known across Gangneung and the world.

However, as the performance progresses, the stage begins to veer in a direction entirely different from the leader's meticulous plan. A succession of unexpected situations unfolds, gradually plunging the stage into chaotic twists. Through this unpredictable journey, the piece aims to demonstrate the raw power of the Pan (live performing arena)—which comes alive and is crafted through spontaneous improvisation on-site—rather than a flawlessly rehearsed and rigidly scripted show.

While rooted in traditional Pangut, the performance breaks away from the linear progression of conventional Jinpuri (marching formations) to present a multi-layered composition where multiple formations and scenes unfold simultaneously. It creates highly dynamic spectacles by combining the resonant sounds of various percussion instruments—such as the buk (barrel drum), janggu (hourglass drum), kkaenggwari (small gong), jing (large gong), bara (cymbals), and gwangsoe (miniature gong)—with collective group dancing and creative physical movements.

Set within the grand festive arena of the Gangneung Danoje Festival, 〈The Woosoo Itinerant Troupe〉 seeks to dissolve the boundaries between the stage and the actual site, ultimately completing one massive Pan that breathes in perfect unison with the energy of the gathered crowd.

A crossover creative music ensemble composed of young majors in traditional Korean music and Western music from Gangneung. The name 'Haeram' means "a ship weighs anchor and sets sail," reflecting their determination to embark on a new musical journey from Gangneung, a city bound to the sea.

Based on the beauty of traditional Korean music, the ensemble explores new musical possibilities through creative fusion with Western music. Contributing to the development of local culture and arts, they deliver a special listening experience where tradition and modernity harmonize through innovative composition and arrangement. The nature, culture, and folklore of Gangneung are precious assets passed down through generations.

[Korean Traditional Music Ensemble Haeram]'s performance, , aims to convey the stories of Gangneung with greater depth through a new form of performance that combines a puppet show with locally created original compositions.

The puppet show adds vivid lifelike energy to the story, while the original compositions colorfully express the charms of Gangneung by adding the modern sensibility of Western classical music to the melodies of traditional Korean music. We invite you to re-examine the value of Gangneung's folklore through a stage that everyone from children to adults can enjoy.

[Moving Meditation - Sunmudo] is a practical cultivation method of Korean Buddhist 'Gwan' (contemplation) aimed at achieving enlightenment, boasting a history of over a thousand years since the Silla Dynasty. The practice of Sunmudo encompasses meditation, yoga, and martial arts—disciplines familiar to many—and pursues deep immersion in meditative absorption (Dhyana) through the harmony of body, breath, and mind.

The aesthetics of Sunmudo embedded in this meditative absorption lie in Jeong-jung-dong (dynamism within stillness), Dong-jung-jeong (stillness within dynamism), and the absolute freedom and transcendence achieved when body and mind become one. Based on these unique characteristics, the [Sunmudo Performance Group Sacheonwang] has been presenting innovative performances that offer healing and deep emotion to be experienced through all five senses. They achieve this by fusing the breath and scent of moving Seon (Zen) with various traditional arts on the stage of Golgulsa Temple, Korea’s only natural stone cave temple. Furthermore, the group has now established itself as a world-renowned art performance group, receiving high acclaim at numerous prestigious international festivals.

In this upcoming performance, we aim to blend the dynamic stillness of Sunmudo with the symbolic expressiveness of dance art. Through this, we metaphorically express the purity and tranquility rising from the deep, lush mountain temples of Gangneung, as well as the healing, happiness, and catharsis that come from overcoming suffering and worldly defilements.

The performance consists of a total of five chapters:
Chapter 1: The Awakening Mountain Temple
Chapter 2: The Practicing Mountain Temple
Chapter 3: The Flames of Defilement
Chapter 4: All Creation Unfolding in the Mountain Temple (The change and harmony of earth, water, fire, wind, and cosmic energy)
Chapter 5: The Lotus of Nirvana Blooming in the Mountain Temple

Creative Staff & Cast
General Director: Venerable Seol Jeog-un (Grand Master of Sunmudo Daegeumgangmun)
Artistic Director & Choreographer: Tae Hye-shin
Director & Co-Choreographers: Yang Du-seop, An Chi-uk
Cast: Yang Du-seop, Chae Hee-geol, An Chi-uk, Shin Su-in, Kim Jae-deok, Tae Hye-shin, Cheon Seong-eun, Kim Ryang-hee, Kim Hae-jin
Collaborating Organization: Tae Hye-shin Karma Free Dance Company

Our music begins from the sea.
The sound of Gut (shamanic ritual) that resonated amidst the rough waves of the East Sea; the excitement and rhythm that flowed alongside the warm breeze of the South Sea. Two groups of youths born from different seas—the music of Gangneung Dano-gut and Namhaean Byeolsin-gut now meet on a single stage.

[the Gangnam] does not stop at merely replicating tradition. We seek to bring the breath, rhythm, and stories embedded within it back to life with a contemporary sensibility.

The bright and cheerful melodies of the East Sea make the body move, while the deep and solemn sounds of the South Sea narrate a story to us. The moment these two musics meet, a new flow and resonance are created.

We aim to interpret shamanic music not as an unfamiliar relic of the past, but as 'music of the present' that can be felt and enjoyed together right here, right now. It is a performance where the audience does more than just watch—they breathe together and immerse themselves. Within that experience, tradition is no longer something distant; it comes alive within our senses. [the Gangnam] is open like the sea.

In a space where tradition and modernity, ritual and performance, music and movement freely cross boundaries, we will continuously create new sounds. Inheriting the past, our stage is reborn as a resonance of this very moment.

Program
1) Cheongsin (Inviting the Gods)
Cheongsin—the moment the unseen gods arrive at the performance venue, the Gut (performance) begins.
A fabric is draped over the space connecting the human and divine realms, and a Sin-gwangjuri (shamanic basket symbolizing the divine) is placed. Along that path, wandering spirits find consolation and finally move forward to a peaceful place.

2) Chukwon (Supplication and Blessing)
Upon the ground where a house is built, the time to fill life begins.
The empty space is filled one by one with touch and devotion. When the household is fully established, the house finally becomes a cradle of life, imbued with the time of those who dwell within.
It becomes a deep, spreading resonance that wishes for peace and prays for blessings in the lives of those gathered here.

3) Oejanggeori (The Outer Ritual)
Over the resonance of the Jing (gong) and Janggu (hourglass drum), the musician's voice permeates long and deep.
As each and every name is called, impurities quietly recede, and a wish for peace settles like a warm breath.
That sound is not mere words, but an ancient power that caresses weary lives.
Scattered energies gather once more, and life gains fresh breath.

4) Sonnim (The Guests / Spirits of Disease)
Sonnim (The Guests)—entities that once gnawed away at people's lives.
Invisible diseases turned into dread, and to endure that terror, people enshrined the "guests," sang songs, and treated them with utmost devotion. In this way, the Gut became a way to navigate fear and a path to protect life. In this ancient manner of turning fear into consolation and anxiety into hospitality, we welcome the "guests" once again today.

5) Ollim (The Offering)
In the deep flow of the Gut, the body speaks first.
A solemn and pure gesture that cleanses the unseen and opens the path for the approaching gods.
Movements that started from different places connect with a single heart, directing themselves toward the lives of those gathered here.
May great fortune enter, may peace reside in the household, and may all wished-for things come true.
The prayer embedded in every single gesture and every single breath spreads quietly, yet deeply.

6) Songsin (Sending Off the Gods)
As the Gut comes to an end, the final resonance slowly fades away.
The heartfelt wish continues that even the entities unable to remain in this place may eat their fill and depart far away, carrying any remaining misfortune with them. Praying that peace may reside and blessings may settle upon both the visible and the invisible, the Gut quietly brings down its curtain.

An extraordinary, audience-participatory performance unfolds where the audience members step directly into the drama, transforming into both the subjects of the Joseon Dynasty and the official judging panel.

You can fully immerse yourself in a colorful feast of arts as if traveling through the eight provinces of Korea, comparing uniquely distinct traditional arts from all across the nation in a single venue. Moreover, you will encounter the gripping and intriguing stories intertwined between the King and the performing artists (yein).

Melting traditional music, dance, song, and yeonhui (traditional performing arts) into a single, cohesive storyline, this new form of theatrical performance will simultaneously deliver profound artistic inspiration and unforgettable dramatic fun.

Dance is often called the language of gestures. Yet, perhaps the true charm of dance lies in its ability to escape being confined to a single meaning, offering the audience a myriad of diverse interpretations. The 8th 〈Gangneung Danoje National Dance Competition〉 is a premier stage where top-tier dancers from across the nation gather to showcase the exquisite skills they have meticulously honed, expressing the stories they wish to tell the audience through the beauty of their dance movements.

Held to inherit and preserve traditional culture while revitalizing the art of dance, this year's competition is divided into two major divisions: Pure Dance and Practical Dance.

- The Pure Dance Division features Korean Traditional/Creative Dance, Classical/Creative Ballet, and Contemporary Dance.
- The Practical Dance Division showcases Dance Sport, Street Dance, Choreography, K-POP, Jazz Dance, and Hip-hop.

With participants spanning diverse age groups from kindergarten and elementary school students to university students—alongside the Master Division for university-educated dance majors and the Rookie Division for the general public—a spectacular array of colorful performances is highly anticipated. Serving as a vibrant platform for nationwide cultural exchange and regional promotion, as well as a foundational stepping stone for nurturing youth and the next generation of dancers, we invite you to fully immerse yourself in this feast filled with artistic talent and burning passion!

Since ancient times, a wedding has been referred to as Inryunjidaesa (the grandest event of human life) and regarded as the milestone of greatest importance in a person's life. Although wedding landscapes have evolved considerably with the times, the moment of welcoming a lifelong partner remains uniquely precious and special. Hosted by the Gangneung Chapter of the Sungkyunkwan Women’s Confucian Association, the 〈Traditional Wedding Demonstration〉 offers a profound opportunity to reflect upon the true meaning and values of marriage, where a man and a woman bind their destinies as husband and wife in accordance with the principles of Eum-yang-ji-hap (the harmony of Yin and Yang)—the cosmic law of the universe.

Reenacting the traditional wedding of an aristocratic family (sadaebu) based on the Saryepyeonram (Manual of the Four Confucian Rituals) from the late Joseon Dynasty, this event begins in earnest with the Haeng-ye-seoneon (the declaration of the commencement of the wedding ritual). The sacred ceremony unfolds through a series of traditional rites:

- Jeonan-rye (Rite of Presenting the Wild Goose): The groom visits the bride's home and presents a wild goose, the timeless symbol of lifelong fidelity and marital bliss.
- Gyobae-rye (Rite of Mutual Bows): The groom and bride bow to each other, sealing their vow to grow old together in harmony.
- Seocheonji-rye (Vow to Heaven and Earth): The couple pledges before heaven and earth to become a happy, devoted husband and wife.
- Seobaeu-rye (Vow to the Partner): The bride and groom vow to love each other with unchanging devotion throughout their lives.
- Geunbae-rye (Rite of Exchanging the Gourd Cups): The couple drinks from cups made of a single gourd, confirming their destiny as a match made in heaven and sealing their unity as one body and mind.

Upon the completion of these rites, the birth of the new couple is joyously celebrated with a nuptial address (jurye) and congratulatory speeches.

A vibrant Gilnori (street procession) that enlivens the audience, a traditional palanquin procession carrying the bride, and a Hamjin-abi (box bearer) wearing a dried squid mask—rare and precious sights seldom seen today—will transport us back to a romantic era of yesteryear.

Designated as a National Intangible Cultural Heritage in November 1973, 〈Songpa Sandaenoli〉 (Songpa Mask Dance Drama) is a traditional mask dance drama that has been performed for approximately 300 years, centered around the historic Songpa Market. It stands as the only mask dance drama currently transmitted and preserved in the Seoul region.

As a seasonal custom (sesi-noli), it was traditionally performed during major traditional holidays such as Jeongwol Daeboreum (the First Full Moon of the Lunar Year), Dano (the Fifth Day of the Fifth Lunar Month), Baekjung (the Buddhist All Souls' Day), and Hangawi (Chuseok harvest festival). Like other Korean mask dance dramas, its performance style centers on dance, interwoven with theatrical dialogue (jaedam), singing (sori), various expressive movements, and the spontaneous improvisations of the performers.

The accompanying music is provided by the Samhyeon-yukgak ensemble—a traditional instrumental composition consisting of a janggu (hourglass drum), a buk (barrel drum), two piri (double-reed bamboo oboes), a daegeum (large transverse bamboo flute), and a haegeum (two-stringed vertical fiddle). The primary rhythms (jangdan) include the 12-beat Yeombul, Taryeong, and Gutgeori, along with Dang-ak, Jajin-taryeong, Jajin-mori, and Hwimori.

The dance movements (chumsawi) are broadly categorized into three stylistic types: the Geodeureum dance of the Yeombul rhythm, the Kkaekkiri (or Kkaekki) dance of the Taryeong rhythm, and the Geondeureong dance of the Gutgeori rhythm. These are further subdivided into more than 40 distinct, refined movements, making it a definitive representation of the dance styles found in Korean folk dance. Today, as a National Intangible Cultural Heritage, its original 12-act courtyard composition (madang) is fully transmitted, and with 32 distinct masks preserved from the historic Sandaedogam (government office for mask drama), the art form maintains a relatively archaic and pristine original structure.

Designated as a National Intangible Cultural Heritage in 1985, 〈Gangneung Nongak〉 (Farm Music of Gangneung) is counted among the eight major Nongak traditions in South Korea, alongside Jinju Samcheonpo Nongak, Pyeongtaek Nongak, Iri Nongak, Imsil Pilbong Nongak, Gurye Nongak, Gimcheon Geumneung Bitnae Nongak, and Namwon Nongak.

The ensemble of Gangneung Nongak is composed of a nonggi (farming flag), swaenap (double-reed oboe), kkaenggwari (small gong), jing (large gong), buk (barrel drum), janggu (hourglass drum), sogo (small hand drum), beopgo (narrow hand drum), and mudong (young boy dancers). Musicians wear white traditional shirts and trousers tied with tricolor sashes of red, blue, and yellow, while the mudong are dressed in vibrant, multi-colored outfits.

What sets Gangneung Nongak apart from other regional traditions is the distinct differentiation between beopgo and sogo, alongside the prominent inclusion of numerous mudong. The brass gong rhythms (soe-garak) are simple yet remarkably fast, making it recognized as the fastest Nongak in the country. Since most of the dances are performed at a running pace, the spectacle is incredibly gallant, vigorous, and full of life.

Throughout the entire duration of the Gangneung Danoje Festival, Nongak troupes from eight local villages of Gangneung take turns daily to deliver high-spirited performances at the Namdaecheon Ari Madang. Village residents who preserve the authentic, pristine form of Gangneung Nongak—a UNESCO Representative List of the Intangible Cultural Heritage of Humanity—will personally present dynamic beopgo plays and sogo dances. These performances will deliver the characteristically lighthearted, cheerful, and powerful energy of the Yeongdong region to all visitors at the Dano grounds.

Pyeongtaek Nongak, designated as both a UNESCO Intangible Cultural Heritage of Humanity and a State National Intangible Cultural Heritage, is the representative Nongak (traditional Korean farmers' music) of the 'Utdari' region (encompassing Seoul, Gyeonggi, Chungcheong, and parts of Gangwon, which account for 60% of South Korea's population). It can truly be called the Nongak that represents South Korea.

Designated as a State National Intangible Cultural Heritage in 1985, Pyeongtaek Nongak is characterized by its Pangut (performing-arts-oriented farmers' music), which blends fast, cheerful rhythms with dynamic Sangmo (ribboned hat) spinning. It features spectacular individual performances, as well as Beonanori and Mudongnori, which cannot be seen anywhere else in the country.

1) Pangut (Performance Ritual)
This is a performance where the Nongak troupe sequences various games and Jinpuri (military-style formations) to showcase an array of artistic skills. Set to fast and powerful melodies, vibrant and spectacular formations unfold, while performers such as the Sangsoe (lead gong player), Sangmo spinning performers, Janggu (hourglass drum) players, and Beona spinners step forward to show off their individual talents.

2) Beonanori (Spinning Dish)
This is a performance where artists spin a Beona (a traditional plate or tray) using tools like a cherry wood stick or a long tobacco pipe, throwing and catching it in the air. It features a dazzling display of techniques—such as Deonjilsawi (throwing), Darisawi (under-the-leg), Mujigaesawi (rainbow), Ttaerilsawi (striking), and Maebatneunsawi (hawk-catching)—combined with the witty and humorous banter of the performers.

3) Mudongnori (Dancing Boy Acrobatics)
In this performance, young Mudong (child dancers) stand on the shoulders of adults to perform breathtaking acrobatics, including Danmudong (single-child tower), 3-Mudong (three-child tower), and Apdwigondou (front and back somersaults). In particular, the O-mudong (five-child tower formation) is the pride of Pyeongtaek Nongak, eliciting gasps of admiration from the audience.

4) Yeoldubal Nori (Twelve-Yard Ribbon Dance)
Yeoldubal refers to an exceptionally long Sangmo (ribboned hat), named so because the length of its Chori (tail/ribbon) spans twelve steps (yeoldubal). A key characteristic is the emergence of a toad-like shape while spinning the twelve-yard Sangmo. This performance corresponds to Madangssitgi (cleansing the yard), which marks the final concluding stage of the Nongak performance.

Gangneung Nongak, designated as an Important Intangible Cultural Heritage (currently State National Intangible Cultural Heritage) in 1985, is counted among the top eight national Nongak (traditional Korean farmers' music) styles along with Jinju Samcheonpo Nongak, Pyeongtaek Nongak, Iri Nongak, Imsil Pilbong Nongak, Gurye Nongak, Gimcheon Geumneung Bitnae Nongak, and Namwon Nongak.

The Nongak troupe consists of the Nonggi (farmers' banner), Saenap (traditional oboe, also known as nallari), Kkwaenggwari (small gong), Jing (large gong), Buk (drum), Janggu (hourglass drum), Sogo (small hand drum), Beopgo (small temple-style hand drum), and Mudong (child dancers). The musicians wear white Baji-jeogori (traditional pants and jacket) wrapped with three-colored sashes of red, blue, and yellow, while the Mudong wear colorful mixed outfits.

What sets Gangneung Nongak apart from other styles is the distinct separation between the Beopgo and Sogo players, as well as the inclusion of many Mudong dancers. The Soegarak (small gong rhythms) are simple yet exceptionally fast, earning it a reputation as the fastest Nongak in the nation. Because most of the dances are performed as if running, the performance is remarkably brave, vigorous, and full of lively energy.

Performances at the Gangneung Danoje Festival
Throughout the entire duration of the Gangneung Danoje Festival, Nongak troupes from eight local villages of the Gangneung area take turns daily to deliver exhilarating performances at the Namdaecheon Stream Arimadang.

The village residents, who preserve the original, authentic form of Gangneung Nongak (a UNESCO Intangible Cultural Heritage of Humanity), personally showcase the dynamic Beopgo plays and Sogo dances. Their performances deliver the uniquely cheerful and powerful energy of the Yeongdong region to all visitors attending the Dano grounds.

This is a traditional mask dance drama that has been performed during the Gangneung Danoje Festival, which is designated as both a UNESCO Intangible Cultural Heritage of Humanity and a National Intangible Cultural Heritage. Originally performed by Gwanno (government-owned slaves belonging to government offices during the Joseon Dynasty), this masked play conveyed stories through humor and satire despite the performers' restrictive social status. It stands as South Korea’s only traditional non-verbal masked play, uniquely expressed entirely through dance and gestures without any spoken dialogue.

The main characters include the Yangban Gwangdae (Nobleman), Somae Gaksi (Young Lady), two Sisi Ttakttaki (Interfering Spirits), and two Jangjamari (Fertility/Gluttonous Spirits), accompanied by musicians who lead the masked drama.

The performance consists of five gwajang (acts):
Act 1: The Jangjamari appear to liven up the atmosphere of the performance.
Act 2: The romantic courtship between Yangban Gwangdae and Somae Gaksi unfolds.
Act 3: The Sisi Ttakttaki disrupt and interfere with their love.
Act 4: A grand commotion arises due to Somae Gaksi’s suicide attempt (to prove her innocence).
Act 5: The final act brings the reconciliation of Yangban Gwangdae and Somae Gaksi, where all characters and the audience come together to dance and celebrate in total harmony.

In Gangneung, various organizations learn and preserve the tradition of Gwanno Gamenguk, and every year at the Danoje Festival, a stage is set for them to showcase their exceptional skills. We invite you to sit back and enjoy the Gwanno Gamenguk presented by the Okhyang Pungmul Dan (Okhyang Pungmul Troupe).

This mask play was traditionally performed during the period of the "Gangneung Danoje Festival," which is inscribed on both the UNESCO Representative List of the Intangible Cultural Heritage of Humanity and South Korea's National Intangible Cultural Heritage. It is a mask drama that was originally performed by Gwanno—slaves belonging to government offices during the Joseon Dynasty—who conveyed stories through humor and satire despite their strict social limitations. As South Korea's only traditional non-verbal mask drama, the narrative is expressed entirely through dance and gestures without any dialogue.

The main characters include the Yangban Gwangdae (Aristocrat Clown), Somae Gaksi (Young Lady), two Sisi Ttakttaki (Interfering Demons), and two Jangjamari (Fertility Spirits), accompanied by the musicians who lead the rhythm of the drama.

The performance consists of a total of five acts (Gwajang):

Act 1: The Jangjamari appear to liven up the atmosphere and prepare the stage.
Act 2: The romantic courtship between the Yangban Gwangdae and Somae Gaksi unfolds.
Act 3: The Sisi Ttakttaki disrupt and interfere with their romance.
Act 4: A major commotion erupts following a suicide attempt by Somae Gaksi to prove her innocence.
Act 5: The drama concludes with a reconciliation between the Yangban Gwangdae and Somae Gaksi, where all characters and the audience come together to dance, celebrate, and harmonize.

In Gangneung-si, various organizations learn and preserve the lineage of the Gwanno Mask Drama, and an annual stage is provided during the Danoje Festival for them to showcase their skills. Among them, the Gwanno Mask Drama performed by the Gangneung Danoje Preservation Association is considered the closest to the authentic origin, representing the true history and tradition of the Gangneung Danoje Festival.

Harmoniously blending traditional sinmyeong (exuberant joy) with a modern aesthetic, 〈Dano The Grida〉 is a convergence performance that dynamically unvelis the fiery passion and vivid landscapes of the Gangneung Danoje Festival through creative traditional Korean music and sand art.

The high-spirited traditional melodies, which naturally make one's shoulders dance, brightly awaken the landscapes within the listeners' hearts, while the endlessly shifting and cascading sand vividly captures the shapes of yearning, instantly captivating the audience's gaze.

Every single melody filling the stage preserves the deep, authentic flavors of our tradition yet is reborn with a sophisticated sensibility that everyone can enjoy together, further fueling the explosive energy of the festival.

Transcending the level of simply watching a performance, it summons the living landscapes and stories of the people within the grand framework of the Gangneung Danoje Festival back as precious memories. This performance gathers the long-cherished sentiments of Dano and the joyful heart of the community into one, brilliantly unfolding a vibrant arena of art where everyone can become one and rejoice.

Celebrating the Gangneung Danoje Festival, a UNESCO Representative List of the Intangible Cultural Heritage of Humanity, the 62nd 〈National Student Art Competition〉 will be held again this year throughout the Dano Park area. Hosted by the Gangneung Danoje Festival Committee and organized by the Gangneung Fine Arts Association, the competition is open to kindergarten and elementary school students from across the nation.

Participating students will bring to life works that interpret the "Contents and Meaning of the Gangneung Danoje Festival" through their own unique perspectives on drawing paper, sharing a meaningful time that nurtures both an understanding of traditional culture and artistic sensibility simultaneously. As a nationwide art competition with a long and storied history, it is highly anticipated that this event will serve as a valuable stepping stone to ignite the future creative endeavors of all participating students.

2026 Gangneung Danoje National Writing Contest
The 2026 is a program organized by the Gangneung Branch of the Korean Writers Association to revive the spirit and elevate the value of the Gangneung Danoje Festival, a UNESCO Intangible Cultural Heritage of Humanity.

The contest is open to elementary, middle, high school, and university students, as well as the general public nationwide; however, published (established) writers are not eligible to participate. Applicants can choose to enter either the Verse (Poetry) or Prose category. To participate, you can either pre-register or sign up on-site on the day of the event.

The writing topics (prompts) will be announced on-site on the day of the contest, and participants must write their pieces on the manuscript paper provided at the venue.

The event will take place around the Gangneung Dano Culture Center Plaza and Dano Town, and about 40 winners, including the Grand Prize recipient, will be announced.

If you wish to creatively express the unique emotions and sentiments of Dano through literature, do not miss out on the Dano Writing Contest!

Sijochang (traditional sijochang singing) is the song of scholars (seonbi) that carries forward the veins of Korean tradition. Originating between the late Goryeo Dynasty and the early Joseon Dynasty, sijo poetry has been transmitted through generations, enjoyed within royal courts, aristocratic (sadaebu) households, seowon (private Confucian academies), and by Confucian scholars (yusaeng). The lyrical content primarily revolves around moral themes such as nature and the four seasons, reflections on the transience of life, loyalty (chung), filial piety (hyo), and integrity (jeol).

The 〈Sijo Singing Competition〉 has firmly established itself as an annual center stage performance program at the Gangneung Danoje Festival. It conveys deep emotions through the restrained melodies of Ye (propriety) and Ak (music), solemn breathing, and masterful control of tempo, with its rhythms (jangdan) perfectly synchronized with the poetic cadence of the verse. A millennium-old traditional festival like the Gangneung Danoje serves as the ideal stage for sijochang to manifest the identity and historical depth of the local community. Marking its 55th anniversary this year, the competition presents a vital opportunity to reflect upon our heritage while reinforcing the cultural messages to be passed down to future generations. Resonating through the halls of the Gangneung Hyanggyo (Local Confucian School), sijochang embraces the spirit of Ongojisin—reviewing the old to learn the new—safeguarding past traditions while creating a profound resonance for a new era through creative expansion toward the future.