Yangju, a small town to the north of Seoul, was a thriving market center in the 17th and 18th century. It is home to one of the regional variants of Sandae-dogam mask dances that developed during that time. Though related in theme and satiric intent to the such early forms as the Hahae Pyolsin-kut, the Sandae-dogam plays developed along regional lines after troupes of palace entertainers housed at Seoul were disbanded in 1634 and the performers returned back to their native places in the provinces. The masks tend to be more abstract and, often, more grotesque than earlier masks Korea. Performances by the farmers and low ranked officials of Yangju date back at least 200 years. The plays are traditionally performed as part of the celebration of Buddha's birthday, the May festival, and the Autumn festival and during droughts. These events are supported by the village at large and performed amidst feasting and drinking. The plays are characterized by boadly satiric protrayals of rich landloards, apostate Buddhist monks, lustful old men, and wayward women. They have served as a vehicle of protest against figures of authority and official morality. Though less ritually centered than earlier forms, connections with the agricultural cycles and with excorcism persist, with red faced masks representing the summer and black faced masks the winter. Many of the scenes celebrate fertility while ridiculing figures in authority associated with winter. There are 22 masks in a set, some of which are now used for more than one character.

Some Yangju Pyolsandae masks were made of wood as early as 1623 and those now in the National Museum, collected in 1928, are also wooden. The masks used in traditional Yangju pyolsandae performances, though, are made from decorated gourds. Previously, the masks were preserved in a shrine and refurbished each year; now, they are kept in the homes of individual performers. These linden wood copies have been hand made for public sale in the workshop of Chin Chung Sup of Seoul.