The objective of this article is to analyze current and future of history and culture data in Chungju. First of all, this introduced to history and culture data since the Goryeo Dynasty by each time period. Through these analyses, we could understand that the Chungju area is always at an inflection point in our history and played an important role. This also considered history and culture data by classifying the field and introduced academic application data conducted in relevant institutions all the while. Especially, Jungwon Cultre symposium of Yesung Culture Research was important example of academic application and was a living witness for the history of the Chungju area.

The objective of this article is to analyze ruins of Hoam and Danwol in Chungju and confirm their substances through the literature. First of all, bronze relics of the early Iron Age bronze in Chungju are telling the existence of Jinkuk(辰國) a second century B.C. And it was the high possibility that there was a powerful political force in Chungju of the Mahan Ages. Depending on the progress of the study if we can prove that the arthen ramparts of Hoam was built in the Unified Silla Period, it will help to resolve the position of the Jungwon capital.

The traditional performances of the modern Japanese era have greatly developed stage performances represented by Kabuki(歌舞伎) and Ningyo-Joruri(人形淨瑠璃). There was a permanent theater where you can see such performances and could pay the admission fee. Apart from this, there were people who showed simple performances in the bustling streets or temple grounds, received money, and sold goods. This is called Daidoge (大道藝) and the performer is called Daidogenin(大道藝人). On the other hand, there were wanderers who wandered all over the country and carried Kadozukege (門付藝) as a holiday or ceremony of customs of the year. Kadozukege visits every house and shows his skills and receives rice or money. When he became famous while playing the Daidoge, he could have a performance in a fully-equipped-stage, and there were the opposite cases. Daidoge and Kadozukege were usually taken by people belonging to the lowly people, and they were not treated as ‘arts’ such as Ningyo-joruri and Kabuki. Even now, you can meet Daidogenins in local festivals, big cities, and downtown areas. Among the performances by modern wandering people are still a comedy or a popular entertainment today. The popular entertainment that was performed in the theater after the Meiji Restoration originally started from the street corner. Among the performances that the wandering person carried out, there was a stage art which became very popular with the Japanese people at that time and became the stage art. Hinin, Rubber, Sarukai, and other medicine-seller, who have been living in various areas, have been selling their arts, imitating the sophisticated performances of the city, but have pioneered new fields through their own research and development. In addition, the art of the wandering artist is significant in that he has handed down the acrobatics and the typical magics disappearing after Sarugaku(猿樂). The wandering artist of the early modern Japanese are similar in that they have made their own country by combining professional arts and folk arts like the Korean wandering group. Many Japanese wanderers come from religious ones, and the group called Ganin (願人) is very similar to the group of wanderers such as Namsadang in Korea in that they show their art in the name of buddhist temple and receive money or rice.