Naebang-gasa is a repository of collective literary activities. These literary activities are described by the creative subjects through the term of 'writing'. This act of 'writing' is very important to note in terms of human cultural history. The 'writing' tradition of Naebang-gasa is a community-based collective cultural activity. The literary creation and enjoyment of literary culture in human cultural history can be frequently found in the tradition of oral literature, the practice of 'speaking'. This refers to the literature of community-based speaking in the field of collective labor and the context of rituals and ceremonies. On the other hand, writing and reading texts activities are likely to be one-offs that remain private. Yet the writing tradition of Naebang-gasa is based on writing and reading, and goes through the activities of reciting and re-transcription. Such process requires attention as it is a unique way of transmission of Naebang-gasa going from the memory of the individual to record as communication, and then again changing to collective record.

Recitation is an ancient way of enjoying records throughout human history. Religious recitals of hymns from the ancient Hindu temple of Veda are believed to have been practiced for at least 3,000 years and in Islam, there is a qurra that specializes in reciting the scriptures, the <Qur'an>. The tradition of reciting in literature has a long history too. The literature of Homeros, Vergilius, Aeschylus, Sophocles, and Euripides was handed down in the form of recitals and most of the activities of the bard poets who sought the feudal lords of the medieval era were leaning on reciting. If they had not leaned on recitals, we would not have had a sonnet-type lyric, complete with the humanist Petrarch's 'Canzoniere'. In this way, literature existed by reciting and progressed by reciting according to critics. Recitation in the process of enjoying Naebang-gasa is a meaningful tradition that we should pay attention to. This is because Naebang-gasa is a legacy where the concrete form of the present can be confirmed, while retaining the traditional way of enjoying human literature.

Recitation is a way of sharing individual written records to the community. This is one of the ways to improve the understanding of records and to make them popular. To add, in this process, an important transformation takes place in which individual records expand to collective memory. It can be seen that the memory is an important form of enjoyment that can be recited in order to be repeated and meaningful in new records.

On the other hand, the recital of Naebang-gasa spreads back to individual memories through the process of transcription. You can transcript the recited text as it is, but continue to create new versions with the scribe's personal intentions and desires. The process of spreading and converging the memory of the individual's memory into the group memory and the group's memory into the new individual's memory continues through reciting and transcription.

In transcription culture, the boundary between the scribe and narrator is not clear. Thus, transcription has the property of transforming text. In the Hangeul transcription process, the scribe copies and rewrites text. As this process continues, Naebang-gasa has both the value as an individual work and the value as a repository for the collective memory of the community in which they lived.

In the 1990s, in archivistics, there was a trend to accept other things outside the boundaries in practical awareness of who and what was excluded through silence. At the same time, it is seeking coexistence of various small lyrics by pursuing alternative recordings of politically and socially excluded minorities. Thus, it has the perspective that 'the recognition of others based on diversity does not only mean the diversity of the materials collected, but also means that they should recognize the differentness of diverse areas and should be recognized as an archive that constitutes a society'. In this regard, Naebang-gasa can be a few alternative records of excluded minorities that have not been recorded in history. In particular, it is important in that the majority participated in creating a common accumulation and recording and stored them constantly as continuous common memory, rather than stuffed memory.

Such a method of memory and recording allows the writing of the Naebang-gasa to be oriented beyond the individual self-sufficient writing and as a record of communication. Records as communication serve as exciting play and healing among peer groups and the role of reconciliation and integration among conflicting groups. The former can be found in the lyrics of the Hwajeonga type and the latter in the Q&A type lyrics.

Let's look at the case of <Dendong Eomi Hwajeonga>, which belongs to the lyrics of Hwajeonga type. In the Hwajeon play with the peers, Dendong Eomi unleashes the very unfortunate lyrics. This is a process of healing their own lives and of communicating with their peers and healing them. In this respect, the writing of Naebang-gasa can be seen as a process of group play and healing.

Creating Naebang-gasa is also a new process of communication between conflicting groups. The family daughters and daughters-in-law are empathetic in that they are the same woman, but they are in a relation of subtle conflicts. <Gapohyeolchinga> and <Dapga> are examples of works that illustrate the process of releasing subtle conflicts and communication between them. <Gapohyeolchinga> and <Dapga> are lyrical works that show the aspect and appreciation of family play of a woman who married and visited her parents to play. These texts are an important example of the function of reconciliation and integration between groups in that they exchange words of conflict and reconciliation that are difficult to exchange in reality.