The present study examined the transmission pattern of the background folktale of Eunsanbyeolsinje(은산별신제), Important Intangible Cultural Asset No. 9. There have been many writings on the cultural heritage since Osaka’s(大坂六村) report in 1935 but no research has been made on the transmission pattern of the background folktale. Eunsanbyeolsinje was originally held as an annual village ritual offered to the god of mountains, but as it was merged with Byeolsinje it was held once in every three years for financial reasons and developed into a ritual related to Baekje. The transmission of the background folktale is largely divided into four stages：embracing the Baekje ritual in the mid 1930s, inserting the Baekje ritual in the early 1950s, exposing the Baekje ritual in the mid 1960s, and spreading the Baekje ritual in the mid 1970s and afterward. In this way, the background folktale has been transmitted in a way of reinforcing the Baekje ritual according to change in the ritual pattern of Eunsanbyeolsinje. Research on the transmission pattern of the background folktale is a preparatory work for studying the narrative structure and meanings of the folktale, and it needs to be executed together with research on the literary aspect of Eunsanbyeolsinje as well as on the background folktale, prayers (Sansinje and Janggun) and shaman songs.

The present study examined the transmission pattern of the background folktale of Eunsanbyeolsinje(은산별신제), Important Intangible Cultural Asset No. 9. There have been many writings on the cultural heritage since Osaka’s(大坂六村) report in 1935 but no research has been made on the transmission pattern of the background folktale. Eunsanbyeolsinje was originally held as an annual village ritual offered to the god of mountains, but as it was merged with Byeolsinje it was held once in every three years for financial reasons and developed into a ritual related to Baekje. The transmission of the background folktale is largely divided into four stages：embracing the Baekje ritual in the mid 1930s, inserting the Baekje ritual in the early 1950s, exposing the Baekje ritual in the mid 1960s, and spreading the Baekje ritual in the mid 1970s and afterward. In this way, the background folktale has been transmitted in a way of reinforcing the Baekje ritual according to change in the ritual pattern of Eunsanbyeolsinje. Research on the transmission pattern of the background folktale is a preparatory work for studying the narrative structure and meanings of the folktale, and it needs to be executed together with research on the literary aspect of Eunsanbyeolsinje as well as on the background folktale, prayers (Sansinje and Janggun) and shaman songs.

Eunsanbyeolsinje, transmission pattern, Baekje, village ritua, Baekje ritual, background folktale