[Global NK Commentary] The World of Taboo in North Korean Songs: Taboo Songs Sung by North Koreans

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In North Korea, songs are used as tools for praising the leader and for regime propaganda. All songs are planned and produced under the direction of the authorities, and are produced and distributed through strict censorship and control processes. Even instrumental music without lyrics is based on themes and backgrounds related to the leader or the regime. While songs that superficially deal with love or daily life also exist, these can be interpreted as a performance of non-politicality to conceal political messages.

In this context, North Korean residents alter song lyrics to express their realities and emotions. In an environment where individual creative activities are prohibited except for professional artists, and freedom of expression is strictly limited, lyric alteration is the only free creative act available to residents. This carries a dual meaning of satirizing regime propaganda or venting everyday emotions.

The North Korean authorities define such lyric alteration as 'distortion.' 'Distortion' is defined in the Chosonmal Daesajeon (Korean Dictionary) as "the meaning of being twisted and bent, referring to the act of falsely fabricating something that does not match the facts, or speaking in such a way" (『Chosonmal Daesajeon (2)』 1992, 1765), and it is considered an act that undermines the regime's ideology. In fact, Article 41, Paragraph 11 of the "Youth Education Guarantee Law" enacted in 2021 explicitly prohibits "singing distorted versions of our country's songs or dancing in a non-Korean style" (Seoul: National Intelligence Service 2024). This explicitly prohibits singing distorted songs or dancing in a non-North Korean style. This suggests that the phenomenon of altering song lyrics is widespread within North Korea. As such, the act of North Korean residents altering song lyrics can be interpreted as the emergence of private discourse that weakens the control of official discourse and ideology. It can also be seen as a sign of cultural fissures and emotional resistance occurring within the regime.

I. The 'Real Reality' of North Korea Reflected in Altered Songs

In many cases, the altered songs circulating in North Korea have little thematic connection to the original songs. Residents sing the lyrics as they hear them, or participate in alteration in their own ways by freely changing nouns or verbs within the existing sentence structure. This act of alteration occurs in a process of competitively creating more ingenious and bolder expressions within peer groups. Particularly noteworthy is that they naturally project their daily lives and desires into the altered lyrics. This suggests that even in North Korean society, where freedom of expression and creative activities are restricted, residents are constantly reproducing informal language to capture their emotions and realities.

1) Food Shortages and Jangmadang (Markets)

The most frequently altered song themes among North Korean residents are food shortages and jangmadang. The altered version of <Let's Sing, Young Comrades> retains only the first two phrases of the introduction, with the subsequent lyrics telling a completely different story. In the original song, 'land of freedom' is depicted as an ideal space for children to grow, but in the altered version, it is transformed into a space of impoverished daily life where corn is roasted and eaten during the 'arduous march' period. This contrasts reality with ideals, deconstructing the original song's symbolism and authority, and works to elicit resonance from residents through unexpectedness and humor.

Lyrics of the original and altered versions of <Let's Sing, Young Comrades>

<Original>

We grow up in the land of freedom

Blooming in the paradise of peace

Let's sing, young comrades of the new nation

What is there to envy in the world?

<Altered>

In the land of freedom, we clean corn[1]

Grandpa, Grandma, please try eating it

My teeth hurt, I can't eat it, you eat it

This darned corn[2] I'm full

The 'jangmadang' also appears as a background in the altered songs. The original song, sung by Yum Cheong, a singer from the Wangjaesan Light Music Ensemble founded in 1983, praises the leader by depicting the leader as the sun and the people as satellites. However, the altered song shifts the background to the jangmadang and satirizes the scenes of merchants being chased by safety officers while selling goods. The scene humorously depicts the fleeing merchants and naturally matches the rhythm of the altered lyrics by using the off-beat rhythm of the original song's chorus.

Lyrics of the original and altered versions of <Let's Be Satellites of the Sun>

<Original>

Benevolent sunlight, guiding sunlight

Receiving it all into one body

Born, all have their place in life

Determined by His side

Sun, Sun, our Sun, let us become satellites that follow

Sun, Sun, our Sun, let us become satellites that protect

Let us become satellites, satellites serving the Great General

<Altered>

The safety officer is coming, the safety officer is coming

Merchants are running with their goods

The old man selling cigarettes, the old woman selling tofu

Everyone is running with their goods

Run, run, run, run, if you're caught, you'll be taken

Run, run, run, run, if you're caught, there's a fine

We still have energy, so let's run, run, run

In the altered version of <Let's Build a Wall of Iron Defense>, the theme song from the children's film "Darami and the Hedgehog," the scene changes to a hungry 'kkotjebi' (street child) stealing and running away with tofu in the jangmadang. The original song's message of collective cooperation and defense disappears, replaced by a humorous situation where a grandmother selling goods chases the kkotjebi and falls down. This expresses the reality of poverty and the chaotic jangmadang life through humor.

Lyrics of the original and altered versions of the theme song <Let's Build a Wall of Iron Defense> from the children's film "Darami and the Hedgehog"

<Original>

Brave and wise comrades of the flower garden

Let's all unite and protect our garden

Even if fierce enemies attack

We will fight them off with our strength and wisdom

Let's build a wall of iron defense

<Altered>

A wise and clever kkotjebi in the jangmadang

After looking around, stole a block of tofu

The enraged old woman chased after it

And tripped over a stone

And tripped over a stone

2) Romance, Love, and Marriage

The second most frequently altered theme is 'romance, love, and marriage.' The theme song <Star of Love> from the art film "Snowy Spring" depicts romantic feelings with ambiguous and lyrical expressions in the original song, but the altered version uses only the first two phrases of the introduction and changes the subsequent development in a different direction, revealing direct and realistic emotions. The alteration describes a woman who has experienced hardship expressing her feelings harshly to a man, sometimes including vulgar language, and deconstructs the original song's lyricism as if mocking it. In this way, the altered lyrics subvert the original song's mood through the language and emotions of reality, and function by explicitly expressing emotions hidden beneath refined expressions through alteration.

Lyrics of the original and altered versions of <Star of Love> from the art film "Snowy Spring"

<Original Song>

Star that quietly descended upon the window of my heart and called to me

I love you, who brought happiness to my dreaming heart

Ah, my dear star of love

Star that gently knocked on my sleeping window and woke me

I cannot forget you, who sprinkled bright light upon my shaded heart

Ah, my dear star of love

Star that tenderly opened the door of love and embraced me

I will follow you, who brought the fatherland to my hopeful heart

Ah, my eternal star of love

<Parody>

(Parody 1)

You who banged loudly on my sleeping window and woke me

(Parody 2)

You who kicked the door of love with your front foot and closed it with your back foot

Just because you don't have a child doesn't mean you can't get married.

Give me back the motorcycle my father bought

Ah, you are truly an immature brat

(Parody 3)

If you are in love, you are in love, so why are you holding my hand? (Why are you touching my chest?)

The theme song <To Where Youth is Given> from the television art film "The Mysterious Cave," produced by the Korean Art Film Studio in December 2001, was also used as a parody song ("Chosun Literary Arts Yearbook" 2002, 180). Regardless of the original song's content, the parodied lyrics reflect the perspectives of the male in the first verse and the female in the second, lamenting the realistic difficulties of romantic relationships and married life.

Lyrics of the original song and parodied song for the theme song <To Where Youth is Given> from the art film "The Mysterious Cave"

<Original Song>

Person who wants to become young

Person who wants to live for a thousand years

If you wish for longevity, come to Ryongmun Cave

My country, with its picturesque landscapes, unfolds subterranean wonders

Ten years from one visit, a hundred years from two visits

To the laughing cave that makes you young

There is no other longevity medicine in this world but in Korea

If you don't see it, you'll regret it and won't get the longevity medicine

Even underground, bright sun, love, and laughter are given

The enchanting scenery of Ryongmun Cave, born amidst affection

If you don't see it, it will be a lifetime regret

<Parody>

Men's clothing needs only one outfit for going out

And one outfit for going out is sufficient

Women's clothing exceeds twenty pieces

And on top of that, does makeup cost little money?

We cannot live like this, we cannot live like this

We cannot live together for a lifetime

Women's rice portions are one bowl each

And men's rice portions exceed one large bowl

And on top of that, do alcohol and cigarettes cost little money?

We cannot live like this, we cannot live like this

We cannot live together for a lifetime

3) Military Service

Parodies themed around 'military service' vary widely, including draft dodging, lax service attitudes, disparagement of military strength, and exposure of soldiers' duplicity. The parodied version of <My Song in the Trench> follows the original lyrics in the first half and is parodied in the latter half. While the original song focuses on glorifying loyalty and sacrifice on the battlefield, the parodied song subverts the original message by emphasizing survival. In particular, the method of reversing the meaning while quoting the original setting functions as a strategic device to deconstruct the authority of the official narrative.

Lyrics of the original song and parodied song for <My Song in the Trench>

<Original Song>

Let my song in the trench echo towards my hometown

Three years and three months have passed since I took up arms to defend our homeland

Even in the fierce battles where enemy bullets rained down

I fought, keeping in mind the command to attack

I fought, keeping in mind the command to attack

<Parody>

Let my song in the trench echo towards my hometown

Three years and three months have passed since I took up arms to defend our homeland

When enemy bullets rained down, I casually dodged to the side (dodged)

My comrade following behind was hit by enemy bullets and died.

(My comrade who followed was hit by bullets)

My comrade following behind was hit by enemy fire and died.

(My comrade who followed was hit by bullets)

The rewritten lyrics of "Little Tank Is Moving Out" directly reveal the military's powerlessness. While the original song was based on actual North Korean tanks, the rewritten lyrics reflect residents' perceptions of inadequate weaponry and poor tank operational status. This suggests a cynical view of North Korea's military strength from within the system.

Lyrics of the original and rewritten versions of "Little Tank Is Moving Out"

<Original>

Little Tank[3]Is moving out, our tank is moving out

Crushing the American bastards, the little tank is moving out

<Rewritten>

Little tank is moving out, our tank is moving out

It doesn't stop when told to stop, it just keeps moving.

It doesn't fire when told to fire, it just keeps moving.

4) Corruption

The song rewritten with the theme of 'corruption' is particularly striking for its direct satire of reality. In the rewritten version of the theme song "Our Grievance Will Be Resolved" from the movie "Im Kkeokjeong," modern North Korean slang like '골반뽑다' (golban-ppopda) is combined with the original's classical language[4] to evoke laughter from the anachronism. Similarly, the rewritten version of the theme song "The Person Who Remains in My Heart" from the movie "The Person Who Remains in My Heart" uses slang terms such as '돼지' (pig) and '앞전' (apjeon)[5] to intentionally deconstruct the authority of the original work and maximize the satirical effect.

Lyrics of the original and rewritten versions of the theme song "Our Grievance Will Be Resolved" from the movie "Im Kkeokjeong"

<Original>

Why did the benevolent common people take up swords?

We could not live under the same sky as the yangban (nobility).

Who would take this path if there were no grievances?

Who would harden their heart if there were no grievances?

<Rewritten>

Why did the benevolent common people break their hips?

We couldn't stand the yangban and rich, so we had no choice but to break our hips.

If you twist your hips once, the yangban's ribs break;

If you twist your hips once, the rich man's nose bone breaks.

Lyrics of the original and rewritten versions of the theme song "The Person Who Remains in My Heart" from the movie "The Person Who Remains in My Heart"

<Original>

How many reunions and farewells are there in life?

Even if we part, even if we part, there is someone who remains in my heart.

Ah, I cannot forget such a person.

<Rewritten>

In life, I've seen all sorts of things; a pig acting as an apjeon.

Even though I saw them briefly, even though I saw them briefly, the shock hasn't subsided.

Ah, I've never seen such a pig.

5) Wordplay

While most rewritten songs in North Korea assign new meanings to existing lyrics, some are performed by singing the original lyrics backward. In cases such as the popular song "Nightingale," the children's song "Mountain Rabbit," and the children's movie theme song "In Search of the Ginseng Flower," the lyrics are sung in reverse order without content alteration, presenting a different aspect from conventional rewritten songs. This demonstrates that the mere recitation of meaningless sounds can be perceived as novel and fresh, functioning as a form of wordplay and being consumed as a game.

Lyrics of the original and rewritten versions of "Nightingale"

<Original>

Last night too, I whistled, whistled.

For several months now, I have been whistling, whistling.

<Rewritten>

Last night too, I whistled, whistled.

For several months now, I have been whistling, whistling.

Lyrics of the original and rewritten versions of the theme song "In Search of the Ginseng Flower" from the children's movie "Ginseng Flower"

<Original>

This arduous path where one cannot even reach longevity,

In search of the ginseng flower, I am going.

La la la la la la la, let's go quickly.

There is nothing to fear, let's go quickly.

In search of the ginseng flower.

<Rewritten>

This arduous path where one cannot even reach longevity,

In search of the ginseng flower, I am going.

La la la la la la la, let's go quickly.

There is nothing to fear, let's go quickly.

In search of the ginseng flower.

II. Play or Resistance?

For North Korean residents, the act of rewriting lyrics is perceived as 'jokes,' 'wordplay,' 'comedy,' 'objects of laughter,' and 'fun.' Rewritten songs function as daily humor and play, provoking laughter at moments when the solemn and serious norms presented by the North Korean authorities are broken by everyday language. The moment the meaning assigned by the authorities enters reality, the authority of the form and message is subverted, and the seriousness of the original song becomes a playful object due to its unexpectedness and irony. In particular, when noble and idealized characters or situations in the original song are transformed into self-deprecating expressions, the gap with reality is further highlighted.

Although the rewritten song culture enjoyed by North Korean youth superficially appears as a peer culture centered on play and laughter, it inherently contains cynicism, criticism, and despair towards the regime. Rewritten songs serve as the sole outlet and cultural channel for expressing individual emotions, desires, and realities in a society where freedom of expression is suppressed. In particular, the act of imitating and modifying official songs created by the North Korean authorities leads to the distortion of political messages or the assignment of new meanings, revealing the contradictory reality of North Korean society through contrast with the original songs. The ideal world depicted in the original songs is detached from the residents' reality, and rewritten songs become a language that confronts reality by cynically deconstructing it.

The act of rewriting lyrics is considered part of the play culture naturally acquired by teenagers and gradually disappears with an implicit sense of social responsibility upon reaching adulthood. However, this act, which may seem like mere mischief, holds the potential to develop into a threat to the regime from the perspective of the North Korean authorities. In fact, the "Youth Education Guarantee Law" enacted in 2021 explicitly includes a provision prohibiting the rewriting of songs, which can be seen as an official acknowledgment by the authorities that the act of rewriting songs can shake the framework of regime control.

North Korean residents' rewritten songs contain not only simple amusement but also longing and curiosity for a new world. This can be interpreted as a form of passive deviation expressed within a controlled cultural environment. Starting with the 1989 World Festival of Youth and Students, North Korea faced a cultural turning point where it could not help but partially accept external information. Particularly in 1991, following the Pochonbo Electronic Ensemble's tour of Japan, Japanese-language songs were released through North Korean media, allowing residents to encounter music with Japanese lyrics for the first time, which caused a significant cultural ripple effect internally. Furthermore, through North-Japan co-produced films, capitalist elements and images of the outside world spread, providing residents with an opportunity to recognize new styles and aesthetics that they could not experience in existing North Korean culture.

Thus, the act of rewriting lyrics evolves beyond simple wordplay into an alternative cultural consumption and production that imitates and transforms external cultures. The influx of foreign cultures made North Korean residents aware of new sensory standards and cultural tastes, which led to a creative motivation to express their emotions and experiences in ways other than through content produced by the authorities. Rewriting has ceased to be passive reception and has become a means of subjective emotional expression and cultural practice. The process of repeatedly modifying song lyrics has led to the discovery of infinite creative possibilities, which in turn has led to the spread of creative transformation and alternative culture in everyday life. By twisting or subverting the normative meanings of the original lyrics, North Korean residents have formed and shared their own cultural styles. This passive resistance in everyday life can be seen as a sign of the potential for small cracks to emerge within controlled culture.

The phenomenon of song rewriting by North Korean residents thus implies several important changes in North Korean society. First, the potential for the regime's symbolic language to be neutralized is increasingly evident. North Korean propaganda songs have historically induced emotional integration by repeating core symbols of the regime such as 'fatherland,' 'leader,' 'people,' and 'party,' but residents' acts of ridiculing and twisting these symbols show that they are no longer sacred and are being consumed and deconstructed in everyday life. The moment the language of fixed ideology becomes an object of laughter, the persuasiveness of propaganda is bound to weaken naturally.

Second, there is an internal expansion of informal culture. As the regime strengthens control over public culture, residents secretly expand fluid subcultures within it. This culture functions not merely as entertainment but as an informal accumulation of emotions and memories that substitute for official discourse.

Third, there is a crisis in public discourse and a weakening of regime mobilization capacity. In North Korea, songs function not just as art but as tools for regime mobilization; however, for the new generation, formats and content that no longer resonate can lead to structural risks that shake the foundation of collective legitimacy and identity. The more songs attempt to force emotional engagement, the more residents respond with laughter, structuring an emotional gap between the authorities and individuals.

In this context, the new songs released during North Korea's 2025 New Year's celebratory performances—<I Will Love the Path Forever>, <We Are Korean People>, <My Mighty Motherland>, and <The Motherland and My Destiny>—are noteworthy. Sung by Kim Ok-ju of the State Affairs Commission Orchestra, these songs deviate from the existing narrative centered on praising the leader, attempting to reconstruct 'the motherland' as a community of shared destiny and achieve emotional internalization. The musical form has also shifted from collective chorus to a structure focused on individual appreciation, incorporating sentiments that partially acknowledge the hardships of reality. However, despite these formal changes, the enforced project of 'singing for the motherland' remains intact.

Amidst this situation, the act of North Korean residents altering song lyrics demonstrates that cultural fissures and the weakening of symbolic power are gradually progressing within North Korean society. While lyric alteration may appear superficially playful or like an everyday prank, it inherently involves the reinterpretation and deviation from the regime's symbolic system. It is important to note that although the content of propaganda songs continuously instilled by the North Korean authorities is maintained, their meaning is being subverted (transformed) through the residents' interpretations and lyric alterations. This can be considered the quietest form of resistance harbored by North Korean society. ■

* This article is a reconstruction of the paper <Satire of Reality and Subversion of Norms through North Korean Residents' Song Lyric Alterations: Creative Resistance in a Closed Society>, published in Volume 27, Issue 3 of 『Modern North Korean Studies』.

References

Social Science Publishing House. 1992. 『Chosunmal Daesajeon (2)』. Pyongyang: Social Science Publishing House.

Literature and Arts Publishing House. 2002. 『Chosun Munhak Yesul Yeongam (2002)』. Pyongyang: Literature and Arts Publishing House.

National Intelligence Service. 2024. 『North Korean Laws and Regulations (Lower Volume)』. Seoul: National Intelligence Service.

[1] dakda: North Korean term for 'ddeokda' (to stir-fry)

[2] dusangtaegi: North Korean term for 'elderly person'

[3] ttangk: North Korean term for 'tank'

[4] The expression 'to dislocate the pelvis' was stated to be a metaphorical expression in North Korea for stretching the legs to warm up, signifying a situation where one must prepare for combat or resort to violence.

[5] 'Apejeon' is used in North Korea with the same meaning as 'apjang' (front position), signifying ① the foremost position in a group or the front of a direction, ② a position that can be taken or occupied first, and ③ the end of the front part. However, in the lyrics in question, 'apejeon' means 'somersault' or 'tumbling,' referring to a situation where one witnesses a rare and unusual event.

■ Ha Seung-heeVisiting Research Professor, North Korean Studies Institute, Dongguk University

■ Managed and Edited by:Kim Chaerin, EAI Research Assistant

    Inquiries: 02 2277 1683 (ext. 208) | crkim@eai.or.kr