Arirang (Song)

Arirang, (in its original language: 아리랑) a traditional folk song known for centuries across the Korean Peninsula and performed in various social contexts. This song, which cannot be attributed to a single composer or a specific historical moment, has been shaped through generations of oral transmission and has become one of the most widespread elements of Korean cultural heritage. Today, Arirang is recognized as a shared cultural heritage in both the Republic of Korea and the Democratic People’s Republic of Korea.

There is no definitive historical record of Arirang’s origins. Researchers suggest that its roots may extend to the Unified Silla period (668–935) or the mid-to-late Joseon Dynasty (1392–1910)^【1】. The song was transmitted through oral tradition and acquired new lyrics and melodic variations in each era according to the social conditions experienced by performers.

The widespread singing of Arirang during the reconstruction of Kyŏngbok Palace in Seoul in 1868 is regarded as a significant turning point in the song’s historical visibility^【2】. Strong scholarly views hold that during this period, Arirang circulated as a work song among laborers recruited from agricultural areas to work on construction projects. This process contributed to the song’s transformation from a local folk melody into a widely recognized piece in the national repertoire.

There is no single agreed-upon explanation in the literature regarding the origin of the word “Arirang.” However, the research of Professor Shin Yong-ha from Seoul National University offers a detailed analysis of the term’s components. According to this approach, the word “Ari” was used in ancient Korean to mean “beautiful” or “pleasant,” a usage preserved in modern Korean words such as “aritda” and “arittaun.” It is also suggested that the same root is linked to the verb “ari-da,” meaning “the heart aches” or “intense longing”.

The element “Rang” is historically associated with a Chinese-derived form of address used to refer to young individuals, loved ones, or as a respectful form of invocation. The combination of these two elements into the term “Arirang” is generally interpreted in the literature as “the much-longed-for beautiful beloved” or “the one whose absence causes heartache”. The word “Arari” appearing in the song’s lyrics is also thought to directly mean “pain of love” in ancient Korean^【3】.

Structurally, Arirang consists of a fixed refrain and variable short verses that differ by region. The most common refrain, “Arirang, arirang, arariyo,” is preserved, with different lyrics added to this skeletal framework. This feature has enabled the song to adopt an improvisational form and facilitated the easy incorporation of local narratives.

As a result of this structural flexibility, it is estimated that Arirang has approximately sixty main versions and over 3,600 variations^【4】. Among the best-known regional variants are Jeongseon Arirang, Jindo Arirang, and Miryang Arirang. These variations reflect the dialectal features, rhythmic interpretations, and local social experiences of their respective regions.

The Arirang Pass, frequently mentioned in the song’s lyrics, represents in Korean culture not only a geographical elevation but also a symbolic boundary. In traditional Korean society, mountain passes symbolized the separation between village and the outside world, and crossing such a boundary often implied an irreversible separation. Thus, the Arirang Pass functions in the lyrics as a symbol of parting from a loved one, distance, and a rupture that is both physical and emotional.

Over time, this pass transcended the theme of individual separation and became a metaphor for historical hardships, forced migrations, and collective trauma. Particularly during the Japanese colonial period, the Arirang Pass evolved into a narrative element representing the oppression endured by the Korean people and the obstacles they had to overcome.

During the Japanese colonial administration, Arirang continued to exist not merely as a traditional folk song but also as an expressive tool for preserving cultural identity. The singing of Arirang by protesters during the March 1 Movement of 1919 is regarded as evidence of the political and social meaning the song acquired during this period^【5】.

The 1926 silent film Arirang, directed by Na Un-gyu, became a landmark work that shaped the modern perception of the song. The film’s use of Arirang contributed to its transformation into a symbol evoking the traumas and spirit of resistance experienced by Korean society under Japanese rule. During this period, Japanese authorities censored or banned certain versions of Arirang.

^{Poster of the 1926 Film "Arirang"} (IMDb) 

Due to its origins in oral tradition, the identity of Arirang’s first performer cannot be determined. However, the earliest known written musical notation of the song was recorded in 1896 by Homer B. Hulbert. The 1907 recording by Kim Un-sŏn is considered one of the earliest surviving audio recordings of Arirang. Arrangements and recordings made in the 1920s and 1930s helped the song gain widespread recognition both in Korea and Japan^【6】.

Owing to its cultural and historical significance, Arirang has been inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity through two separate nominations. The Republic of Korea registered Arirang in 2012 under the title “The Lyric Folk Song of the Republic of Korea.” The Democratic People’s Republic of Korea completed its own inscription in 2014 under the title “The Arirang Folk Song of the Democratic People’s Republic of Korea.” This dual recognition demonstrates that Arirang is a shared cultural element that transcends political boundaries.

Today, Arirang continues to be used in international sporting events, cultural festivals, and contemporary musical interpretations. It has also lent its name to Arirang TV and radio broadcasts aimed at promoting Korean culture globally. These uses illustrate that Arirang remains not only a historical folk song but also a living element of contemporary cultural circulation.