‘Folk songs’ during the Japanese occupation was newly discovered. Folk songs, which was actively called for as means of national enlightenment, has been the subject of full-scale search and meaning since 1920s, baptized with racial and popular discourses. In these processes, folk songs are recorded in a book as they are, but sometimes adapted or newly created for a special purpose. In relation to that, this article is intended to identify the phase of the folk song creation theory and characteristics of Creation long-sijo that were newly proposed especially in discourse related to folk songs in the 1920s. Folk songs in the 1920s should have been created not in the way that utilizes and adapts existing folk songs but in the way that positively indicates popular reality and demand, and these requirements became influential as important elements of determining the identity of folk songs. On the basis of this discussion, Creation folk songs, as a song of the populace, were performing a function of representing the joys and sorrows of the contemporary populace and criticizing the reality. Also, the argumental features represented in Creation folk songs are directly related to this. One thing is the pain as a colony of Japan and another is the wandering of city labor who, in the process of modernization, came to the city to look for job and money but whose value as a human being can not be acknowledged. The argumental features of Folk song creation theory and Creation folk song in the 1920s coincide with the previous tradition that stressed the power of folk songs in that they tried to diagnose and criticize the reality through folk songs. In addition, they can become an important logical basis in verifying the reason for succession of folk songs in actively under discussion. With regard to this point, Creation folk song theory and Creation folk songs that established the populace as one subject and attempted to represent their reality would provide a new potential prospect.

‘Folk songs’ during the Japanese occupation was newly discovered. Folk songs, which was actively called for as means of national enlightenment, has been the subject of full-scale search and meaning since 1920s, baptized with racial and popular discourses. In these processes, folk songs are recorded in a book as they are, but sometimes adapted or newly created for a special purpose. In relation to that, this article is intended to identify the phase of the folk song creation theory and characteristics of Creation long-sijo that were newly proposed especially in discourse related to folk songs in the 1920s. Folk songs in the 1920s should have been created not in the way that utilizes and adapts existing folk songs but in the way that positively indicates popular reality and demand, and these requirements became influential as important elements of determining the identity of folk songs. On the basis of this discussion, Creation folk songs, as a song of the populace, were performing a function of representing the joys and sorrows of the contemporary populace and criticizing the reality. Also, the argumental features represented in Creation folk songs are directly related to this. One thing is the pain as a colony of Japan and another is the wandering of city labor who, in the process of modernization, came to the city to look for job and money but whose value as a human being can not be acknowledged. The argumental features of Folk song creation theory and Creation folk song in the 1920s coincide with the previous tradition that stressed the power of folk songs in that they tried to diagnose and criticize the reality through folk songs. In addition, they can become an important logical basis in verifying the reason for succession of folk songs in actively under discussion. With regard to this point, Creation folk song theory and Creation folk songs that established the populace as one subject and attempted to represent their reality would provide a new potential prospect.