Arirang, one of Korea’s most iconic folk songs, is not only a cherished part of Korean heritage but also a living testament to the nation’s intangible cultural legacy. As a representative example of Korea’s rich cultural history, Arirang has evolved with different regional variations, but it is consistently characterized by the refrain “Arirang, Arirang, Arario.” This song, particularly during the Japanese colonial period, expressed the personal and national suffering Korea endured and its collective longing for independence, embedding hope and aspirations within its lyrics.
However, a concerning issue has emerged regarding how Arirang is portrayed in China. When searching for Arirang or “Joseon ethnic folk songs” on Baidu, China’s leading search portal, the following description is provided:
“The Joseon ethnic group is distributed across three provinces in northeast China—Jilin, Heilongjiang, and Liaoning—with the majority residing in the Yanbian Korean Autonomous Prefecture in Jilin Province. After migrating to northeast China in the mid-18th century, they became part of the large Chinese family. … Their folk songs are rhythmic and dance-oriented. The content of these songs is rich, with various forms, including labor songs, love songs, and popular ballads. Joseon ethnic songs such as Doraji Taryeong, Arirang, and Nodel Gangbyeon have lively melodies that anyone can sing.”
These descriptions suggest that China regards the Joseon ethnic group as an integral part of Chinese society, implying that the cultural heritage of this group, including traditional Korean songs like Arirang, should be considered part of China’s cultural domain. This reflects China’s broader stance on Korean culture, where not only Arirang but also items like hanbok (traditional clothing) and kimchi are being claimed as part of China’s cultural legacy.
It is important to note that the term “Joseon ethnic group” was coined by the Chinese government in 1956 as a means of managing minority groups within the country. This term does not refer to an indigenous ethnic group but rather to a group formed administratively for ethnic management purposes. Consequently, the claim that the cultural expressions of the Joseon ethnic group belong to Chinese culture can be seen as part of China’s “Northeast Project,” a broader campaign to assimilate the history and culture of neighboring regions into China’s own historical narrative, driven by a form of cultural imperialism.
In response to this, VANK has launched a petition and a poster campaign entitled “Arirang this time? China, why again?” in both Korean and English. The petition highlights the composition and value of Arirang, emphasizing that it is a Korean intangible cultural heritage, while the poster portrays how Arirang is being introduced as part of Chinese culture in a Chinese TV program.
Arirang is not only a song that captures the emotional essence of the Korean people but also embodies creativity, freedom of expression, and respect for empathy. The song’s adaptation of regional variations demonstrates Korea’s cultural diversity and respect for local traditions. As such, it stands as a living cultural treasure that should be preserved and protected from misappropriation.
VANK strongly condemns China’s attempts to appropriate Korean cultural heritage and asserts that Arirang and other elements of Korean culture rightfully belong to Korea.