Human beings have difficulty remembering monotonous discourses, while rhythm and rhyming discourses are easier to remember. Therefore, music is one of the greatest actors of cultural transfer. When popular culture is considered within the framework of the definition of “confrontational”, it is seen that Turkish folk music is a means of resistance to cultural structures that are in conflict with power. Power and dominant culture have consistently sought to destroy, restrict or suppress these cultural structures. However, these structures have never been completely suppressed or destroyed. Subcultures have applied different methods to sustain themselves. They continued to exist with minor changes or expressed that they did not cultural consent by leaving cultural products and transferred their cultural structures to the next generation with these products. Parent culture not only includes subcultures, but tries to change from parenting status to “full dominant” status. During the Ottoman period, the survival of some communities in nomadic life was seen as threatening the social structure and it was decided to prevent such a situation. In this regard, resettlement policies and activities were carried out. In this study, the role of Dadaloğlu as the carrier of Turkish folk music and carrier as the recording area of political and natural cultural conflict between Avşarlar and Ottoman Empire; Turkish folk music as an area of interaction and cultural product of cultural conflict between subculture and political power will be evaluated. Keywords: Dadaloglu, Hegemony, Popular Culture, Subculture, Turkish Folk Music.