The present study provides an opportunity for critical review of the discourse on the globalization of Arirang by examining its aspects of development and features.The discourse on the globalization of Arirang has begun along with its registration as UNESCO Intangible Cultural Heritage. It also had great expectations as new Korean wave content after K-pop, and its genre spread out to various forms of cultural contents led by the government and local governments. In particular, efforts have been made with album recordings and performances to win the hearts of the world by integrating with world-renowned musicians and various genres of music. This is how globalization of Arirang entered the new phase of creative Arirang or world music with a hybrid character.Meanwhile, local governments are also putting up the globalization of Arirang as some kind of a slogan, which seems to be part of a competition to dominate Arirang in advance. However, it is necessary to come up with more ways to emphasize the different identities and distinctive factors of different regions. This kind of criticism and academic discourse must serve as an actual inspection of this Arirang globalization project. With regard to this fact, the discourse on the globalization of Arirang by local governments is now showing efforts to build mutual solidarity and network with the world by breaking away from the regional competition. In particular, this discourse has significance in that it is no longer just one-way publicity of Arirang or excessive nationalism, but aims at cultural exchange of culture.Such discourse about the globalization of Arirang requires in-depth review of how Arirang’s identity has been established, inspection of strategies to globalize Arirang, and critical discussions about the future direction.First, it is necessary to examine whether the discussions about what and how to globalize in Arirang within the globalization discourse is actually in effect. The current direction for the globalization of Arirang has been discussed hastily, not being able to be properly inspected.Meanwhile, the discourse on the globalization of Arirang has thus far focused on the strategic aspect. It was characterized by finding traces, depending on power, and turning it into luxury art. These three strategies contributed to the global recognition of Arirang and promotion of national pride through Arirang. However, there is a risk that those strategies may drive Arirang away from everyday life and turn it into an object of admiration, thereby alienating the actual subject of transmission or narrow the scope of enjoyment.In this sense, the discourse around Arirang education in Korea and the world must be discussed more actively in the future, because education broadens the scope of enjoyment while also expanding the subject of transmission as well. Discussions regarding this began to be raised by individuals or transmission and preservation societies. Continuous and systematic discussions are expected to be led.The discourse on Arirang has played a key role in establishing the identity of Arirang, not only historically but also in terms of the present. This is because of the genre characteristics of Arirang, as well as the fact that our expectations and desires are very much reflected on Arirang. The Arirang code is now closely related to globalization. Thus, it is necessary to inspect our own aim in the globalization of Arirang.