arts

INTERLOCHEN, Mich. — A Michigan summer arts camp and boarding school where Jeffrey Epstein has been accused of meeting at least two of his victims will tear down a lodge that once bore his name.

The Interlochen Center for the Arts said this week that its board of trustees has approved a plan to demolish the Green Lake Lodge, which had been known as Jeffrey E. Epstein Scholarship Lodge until the school cut ties and scrubbed references to the late millionaire sex offender after his first conviction in 2008.

Epstein attended the Interlochen Arts Camp in 1967 as a teenager, and donated more than $400,000 to the school between 1990 to 2003, including $200,000 for the construction of the lodge.

“The lodge has, over time, come to carry associations that are not reflective of who we are as an institution or the values we strive to uphold,” Interlochen said in a statement. “After careful consideration, the Board determined that removing this structure in a safe and timely manner is the right step for Interlochen at this time.”

A world-renowned destination for young artists, actors and musicians, Interlochen’s alumni include Grammy winners Chappell Roan and Norah Jones and Oscar winner Da’Vine Joy Randolph.

At least two of Epstein’s accusers have said they met him at Interlochen in the 1990s.

The school said it was aware of news reports about the women’s claims and said it has invited them to speak with an independent investigator as part of an external investigation into reports of historical misconduct at Interlochen.

A pair of internal reviews, most recently after Epstein’s sex trafficking arrest in 2019, found no reports of misconduct at Interlochen involving Epstein in its records, the school said.

Epstein visited Interlochen periodically, often with his confidante and former girlfriend Ghislaine Maxwell, and stayed in the lodge now marked for demolition.

According to correspondence included in the Justice Department’s recent release of Epstein-related records, he directed that tuition for at least one student be paid out of his donations and once flew violinist Itzhak Perlman to the school on his private jet.

Epstein killed himself in a federal jail in Manhattan in August 2019, a month after being indicted on federal sex trafficking charges. In 2008 and 2009, he served jail time in Florida after pleading guilty to soliciting prostitution from someone under the age of 18.

Maxwell was convicted in 2021 of sex trafficking for helping to recruit some of Epstein’s underage victims, and is serving a 20-year prison sentence.

Rousey won the fight with her signature armbar lock, forcing Carano into submission just 17 seconds into the bout.

Mixed martial arts (MMA) star Ronda Rousey has re-retired after demolishing fellow combat sports trailblazer Gina Carano in their long-awaited non-title comeback bout in Los Angeles, defeating her rival by armbar after just 17 seconds.

After a hype-filled build-up, the bout on Saturday was a jarring anti-climax, with Rousey flooring Carano almost immediately before wrestling her into an armbar to end the fight.

American stars Rousey, 39, and Carano, 44, are widely regarded as two of the most important female fighters in the history of MMA, helping to take the sport into the mainstream during their fighting heydays more than a decade ago.

Carano had parlayed her success into a Hollywood career, appearing in several action movie roles, but had not fought since 2009 before her appearance in Saturday’s featherweight bout.

Rousey, a 2008 Olympics judo bronze medallist who subsequently found huge success in the Ultimate Fighting Championship (UFC), retired from the sport in 2016 after suffering back-to-back defeats against Amanda Nunes and Holly Holm.

The fighters were lured back into the cage for Saturday’s card at the Intuit Dome with the promise of a bumper payday that will reportedly see each fighter earn several million dollars from the streaming giant.

Rousey (13-2-0 MMA) secured her 10th submission win, returning to the cage following an exit from MMA in December 2016.

She insisted afterwards her return to the ring was a one-off and ruled out the possibility of fighting again after paying tribute to Carano.

“Gina is the only person who could have brought me back into MMA – she’s my hero,” Rousey said. “She changed my world, and we changed the world, and I’ll never ever forget that or be able to pay that back enough.

“I’m so glad we finally got to share this moment.”

Asked about possibly extending her comeback, Rousey added: “There’s no way I could have ended it better than this. I want to have some more babies, got to get cooking.”

Carano (7-2-0 MMA) ⁠⁠had been inactive in the sport since August 2009, returning to MMA after a conversation last year at Rousey’s encouragement. She admitted the fight was too fast for her, regretting what ⁠⁠more she could have done in a short timeframe.

“I feel great,” Carano said after the loss. “I wanted to fight, ⁠⁠and I didn’t get that. But she trained. She ⁠⁠had her game plan. I have so much love and respect for her, and this was a victory in my life. She changed it. I woke up at 3am every morning thinking about ‌‌her. I fell back in love with mixed martial arts. There’s ‌‌so ‌‌many things to think about here. It’s just [that] the fight didn’t go my way.

“I wanted that to last longer – I felt like I was so ready, I felt so good,” she said. “But I haven’t been here for 17 years. I wanted to hit her.”

Carano, 44, is unsure whether she’ll return to MMA, choosing to keep the door open.

Carano said the mere fact of getting in shape for her return – she revealed before the bout she had shed more than 100 pounds (45kg) in the two years leading up to the contest – was a victory.

“Right now, just getting in the cage was a victory, getting here after 17 years is a victory. Fighting a legend was a victory. I feel great, I just wanted to fight, and I didn’t get to do that.”

After watching his mother perform in a production of “A Raisin in the Sun” at Compton Community College when he was 9 years old, Anthony Anderson knew appearing on stage would be his life’s work. Over the next handful of years, he enrolled in programs across Los Angeles to achieve that dream. Then, one morning after finishing a class at the Southern California Regional Occupational Center in Torrance, Anderson saw a Post-It note on a bulletin board that caught his attention. The note informed aspiring artists about a newly formed arts school. To be admitted, they had to submit an audition tape.

“I ripped it off the board, and I brought it home to my mother, and I said, ‘Mom, if I can get into this school, can I go here?’” Anderson says. “She said, ‘If you can get into that, yes.’”

Months later, Anderson received a letter informing him that he had been accepted into the inaugural class at the Los Angeles County High School for the Arts.

Founded in 1984 and opening its doors to students in 1985, Los Angeles County High School for the Arts is located on the campus of Cal State L.A. It was established to provide students (currently 550) with conservatory-level arts training and college-prep academics within the public education system. LACHSA isn’t associated with LAUSD; instead, it partners with the Los Angeles County Office of Education, which provides funding to support it.

“I felt it to be very important that I was in an environment where other students had the same passion as I did for the arts, in particular, theater,” Anderson says. “Being around other students who had the same passion and drive that I had as an artist was very influential.”

Over the years, LACHSA has featured a who’s who of alumni across various disciplines, including musicians Phoebe Bridgers and Haim, actors Jenna Elfman and Belissa Escobedo, and visual artists Robert Vargas, Tomashi Jackson and Kehinde Wiley. For the past seven years, the school has been ranked as the top public high school for the arts.

Drew McClelland (second from right) with students from LACHSA’s Cinematic Arts Program and actor William H. Macy (far right).

(Courtesy of LACHSA)

While the school’s accolades focus on the arts, LACHSA also aims to give its students experiences that extend beyond the program. Days are structured so that students take academic classes in the morning and arts in the afternoon. With this format, they meet and get to know classmates from other disciplines.

Former “SNL” cast member Taran Killam points out that this also promotes the school’s social and economic diversity, acting as a mini-college experience.

“It’s such a melting pot, but you have this beautiful, focused bonding,” he says. “It’s a rare thing for kids to know, but LACHSA students are ambitious. It’s very unifying when your background is so disparate and so diverse. It’s what makes it special, and you can’t get this experience in a traditional school.”

Lara Raj attended several arts-focused high schools as she moved during her childhood. With that in mind, the member of the girl group Katseye cites LACHSA as having a major influence on her artistic development. During her time at LACHSA, Raj took music, fashion and acting classes, and says its music tech class was her favorite. There, she learned how to create beats and write songs.

“I developed my songwriting and fell in love with it through those classes,” Raj says. “I was excited to go to school every day. And I hate school.”

Before attending LACHSA, singer-actor Josh Groban didn’t know a school specializing in the arts was an option. After bouncing around schools and realizing he needed a different education to express himself equally academically and artistically, he ended up at LACHSA. There, he found like-minded, artistically inclined outsiders.

Josh Groban, a former student of LACHSA, credits the institution with helping him find his voice.

(Christina House / Los Angeles Times)

“I was a kid who didn’t quite know how to fit in,” Groban says. “Then at [LACHSA], I was surrounded by other students who, I think, didn’t know how to fit in either. We were there for the same reasons, which is that we felt like we needed the nourishment of the arts and being able to express ourselves on a daily basis.”

Half of LACHSA’s funding is provided by the state, with the rest provided by the LACHSA Foundation, a registered 501(c) (3). According to its executive director, Trena Pitchford, the foundation has invested $1 million each school year.

“People always ask me when I tell them I went to LaGuardia and to LACHSA if they were private schools,” Raj says. “I tell them it was created by people who are passionate about the arts and want to inspire kids.”

“There’s a part of LACHSA that I think is a discovery point for a lot of Los Angeles County, and even the nation,” Pitchford says. “There’s so much opportunity for the school, and they’re doing it on a limited budget. What would happen if they were fully funded? What would happen if the foundation had a $40 million endowment? That would fully sustain what they’re doing right now.”

LACHSA students posing in front of the entrance to the Greek Theatre

(Courtesy of LACHSA)

LACHSAPalooza, the culmination of the foundation’s two-year fundraising campaign to celebrate the first 40 years of LACHSA, will take place at the Greek Theatre on May 30. There, student artists will perform alongside Ozomatli, Jon B., April Showers and more. From a fundraising standpoint, the foundation has high hopes of raising $2.5 million.

“We have both annual goals in terms of investment as well as sort of big visions, big dreams of where we think LACHSA could go for the next 40 years,” Pitchford says. “We also hope to put LACHSA on the national stage.’

The honorees for the night are the late Pat Bass, LACHSA’s gospel choir director, retiring LACHSA theater department chair Lois Hunter, and Jerry Freedman, a longtime social studies teacher at the school.

For Anderson, who is serving as the night’s host, seeing Freedman recognized is very meaningful.

“He was there from the school’s beginning,” Anderson says. “He was there when I started, and he’s still there and is still beloved by the students 40-plus years later. I’m looking forward to honoring him.”

As an arts-based school in the long-standing entertainment capital of the U.S., LACHSA can educate and enable the next generation of artists to discover their voices in the backyards of production companies, studios and record labels.

“The freedom that a LACHSA student gets on the campus to discover who they are is exciting,” Pritchard says. “It’s very innovative, very creative, and it’s forward thinking, future forward. It’s an exciting and thrilling place to be.”

Alumni agree. Without LACHSA and, in turn, a focused public arts education, pursuing a career in the arts would have been more difficult and more costly.

“It helps develop souls to be fully fledged human beings who feel like they can go off into the world and be the best versions of themselves,” Groban says. “We all felt like we were free to be who we wanted to be.”

“Specialty-focused high schools like LACHSA, be it arts or any other topic deserving of protection, because it is a gathering place for exceptionally talented, ambitious, driven kids,” Killam says. “And aren’t those the kind of people we want to be cultivating in society?”

“Curly” Williams returned to his old high school campus last week for the first time in 76 years, but did so under his given name — the same name emblazoned on North Hollywood High’s newest attraction: the John Williams Performing Arts Center.

Williams, 94, attended the ribbon-cutting ceremony last Wednesday, which commenced with the composer’s rousing “Raiders March” played by the school’s marching band and accompanied by its blue-clad cheerleaders.

“I think you played that better than we could have,” Williams said, speaking from a wheelchair under the sign of his namesake venue in front of other accomplished alumni and friends, including producer Kathleen Kennedy. “That’s a hard piece.”

The ambitious construction project, initiated in 2015 and designed by CO Architects occupies 35,000 square feet and seats 800. Michael Stebbins, project manager for the BroadStage in Santa Monica, served as project manager. The center is equipped with state-of-the-art amenities to host student performances and school assemblies, but also to train the next generation of theater technicians. Besides an enormous stage, blue velvet curtains, a mixing console and safe catwalks, the building also features new classrooms and rehearsal spaces.

Students, faculty and guests stand for the national anthem before a concert inside the new John Williams Performing Arts Center, named for one of North Hollywood High’s most famous alumni.

(Genaro Molina / Los Angeles Times)

A 75-foot hand-painted mural in the lobby, still in the works by artist Ian Robertson-Salt, is inspired by Williams’ formidable filmography, which serves “as a daily reminder to every student who walks these halls that greatness can begin right here,” remarked Andrés Chait, acting superintendent of Los Angeles Unified School District.

Due to health complications, Williams has made few public appearances in the last two years. He last conducted a concert in February 2024 — and he has also consistently turned down requests to name buildings after him, including at his beloved Tanglewood in Massachusetts, although the Hollywood Bowl did recently name its stage for Williams. It’s a testament to his affection for his time at North Hollywood High, and his regard for the next generation of students, that he not only blessed this dedication but showed up and spoke to a gathered crowd of hundreds.

“I’m sort of silly happy to be here,” he said, calling the dedication “a singular honor in my life.”

Other showbiz alumni on hand included “Beauty and the Beast” producer Don Hahn (class of ’73), “Independence Day” writer-producer Dean Devlin (’80), and Rob Friedman (’81), CEO of Ascendant Entertainment. Partly due to its proximity to the entertainment industry, North Hollywood High has produced a host of famous artists over the decades, including the late Michael Tilson Thomas, who attended in the early 1960s.

John Williams smiles while applauding a performance by the North Hollywood High School band at the dedication ceremony of the John Williams Performing Arts Center on campus.

(Genaro Molina / Los Angeles Times)

“At some point you have to stop calling that a coincidence,” said Kennedy, a longtime collaborator of Williams who gave brief remarks before handing him the microphone. “Something happened here, and something can happen again.”

Williams moved to North Hollywood with his family in 1947, having grown up in Queens. He transferred to North Hollywood High as a 15-year-old sophomore, and joined the band and orchestra as a jazz-loving trombonist. His classmates included Susan Sontag (“I remember her teaching a class in civics, when the teacher would sit down and listen to her,” he told me in 2023) and many future actors, including Barbara Ruick, who played Carrie Pipperidge in “Carousel.” But his best friends were all music-inclined guys whose dads, like his, were famous musicians.

A poster board featured yearbook photos of John Williams, left, performing with the North Hollywood High School Band, class of 1950, in the lobby of the new John Williams Performing Arts Center on the North Hollywood High School campus.

(Genaro Molina / Los Angeles Times)

Williams embraced the nickname “Curly,” given to him by a fellow student in response to his curly red hair, and quickly created his own jazz band with classmates. Ruick sang with them at school events and dances, and they became the house band at a new teens-only venue in Van Nuys called the Dri-Nite Club. Broadcast on local radio, they caught the attention of Time magazine, which ran a story on “Curly’s” band in October 1949.

A newspaper story about John Williams’ high school band from the Los Angeles Unified School District’s archives.

(Los Angeles Unified School District)

Williams has said he fondly remembers his civics and French classes at North Hollywood High, but his time and passion were almost exclusively devoted to music. He rigorously practiced the piano at home, studying with a local concert pianist and MGM arranger named Robert Van Eps; on Wednesday nights he played in jam sessions with his father (Johnny Sr., a drummer) and the Columbia Pictures orchestra. He bopped around clubs in L.A. listening to jazz greats like Oscar Peterson (whose style influenced Williams’ recent piano concerto), and started making a name of his own as a wunderkind performer and arranger.

Long before he scored “Star Wars” or “Harry Potter,” Williams did his earliest arranging and orchestrating for theater productions at North Hollywood High. The impact of his time at North Hollywood High cannot be overstated.

John Williams featured with members of the class of 1950 in the North Hollywood High School Yearbook.

(Los Angeles Unified School District)

During his remarks about the performing arts center on Wednesday, Williams said he felt particularly overwhelmed because the school was “formative in my thinking and my professional work … This is a great, magical place, North Hollywood.”

Williams eventually married Ruick, his high school sweetheart and mother of his three children. Ruick was instrumental in making many of Williams’ earliest career connections. She died from a brain aneurysm in 1974, at the age of 41, just one year before Williams’ career catapulted with “Jaws.” The couple’s youngest son, Joseph, lead singer of Toto, stood proudly behind Williams during the theater’s dedication.

The John Williams Performing Arts Center (JWPAC) is the crescendo of a $319.5 million modernization project at North Hollywood High, which also includes modern classrooms and athletic facilities. It’s a reflection of the diverse public school’s commitment to the arts; students here can play in the orchestra, marching band or modern band, and study drama or modern dance.

“As I think about what else I might say to all of you younger people, students here,” Williams said at his homecoming Wednesday, “two words about this beautiful building: simply use it. Make sure you all use the place.”

Tim Greiving is the author of “John Williams: A Composer’s Life.”

Seoul – Shekinah Yawra had no other option but to spend the night at a South Korean jjimjilbang, a 24-hour bathhouse, after every hotel near central Seoul sold out in late March.

But sleep was secondary for the 32-year-old Filipino who had made her way to Seoul’s Gwanghwamun Square at 7am to secure a spot in a crowd that city officials estimated would grow to hundreds of thousands.

All this was for a glimpse at the seven-member K-pop supergroup BTS, who returned to the stage on March 21 after almost four years away from the limelight for their staggered, mandatory military service.

Though she failed to secure one of 22,000 free tickets for BTS’s first return concert in the square, Yawra was still ecstatic to stand on the sidelines and watch the concert live on a big screen set up for the occasion.

“We all came just for this,” she told Al Jazeera, recounting how friends had flown in from the Philippines for a single night to catch the concert.

Worldwide, more than 18.4 million viewers tuned in for the Netflix livestream of the concert.

With an estimated 30 million fans worldwide – who refer to themselves as the BTS ARMY – the K-pop group is the most visible symbol of “Hallyu”, or the “Korean Wave”, and the global surge of interest in South Korean popular culture and the financial revenues being generated as a result.

In late March, BTS’s 10th studio album, Arirang, topped the charts in the United States, Japan and the United Kingdom, the world’s three largest music markets. The group’s upcoming world tour is expected to generate more than $1.4bn in revenue across more than 80 shows in 23 countries.

Domestically, inbound tourist numbers for the first 18 days of March rose 32.7 percent from the previous month, according to Ministry of Justice data, as the return concert approached and hotel prices surged across central Seoul amid the demand for rooms.

In the week leading up to the concert, sales of BTS merchandise – from BTS glow sticks to blankets – surged 430 percent at the Shinsegae Duty Free retail outlet in central Seoul, the company said.

Over the concert weekend, revenues also rose 30 percent at the city’s Lotte Department Store and 48 percent at Shinsegae overall, compared with the same March weekend a year earlier, in 2025.

As far back as 2022, the Korea Culture and Tourism Institute (KCTI) – a government-sponsored think tank and research organisation – estimated that a single BTS concert in Seoul could generate up to 1.2 trillion won ($798m) in overall economic impact.

KCTI researcher Yang Ji-hoon told Al Jazeera that a sample study of the crowd at the BTS comeback event at Gwanghwamun Square highlighted the uniqueness of fandom-driven tourism. More than half of those at the concert were foreign visitors and many required long-haul travel to attend.

“In Europe and the United States, travel tends to be concentrated within its own regions,” Yang said.

“So, for people to overcome such travel barriers and come to South Korea, it usually requires more than just ordinary motivation or typical spending – it’s not something that happens easily,” he said.

K-pop’s transition to the global mainstream

The scale of BTS’s return to the entertainment world reflects a broader state-backed strategy.

When music promoter Hybe requested Seoul city support for the Gwanghwamun square comeback concert, authorities approved it on public-interest grounds, treating the event as a showcase of national cultural influence.

Almost befitting an official event, more than 10,000 state personnel were deployed for security, logistics and crowd control.

According to data retrieved by South Korean publication Sisain, through a public information disclosure request to the Seoul government, close to 130 million won ($87,400) of city funds were spent as part of logistics for the comeback concert.

South Korean government support for BTS has a precedent.

As members of the boyband approached South Korea’s mandatory military service age, policymakers debated special exemptions for members of BTS, which was estimated to have generated $4.65bn annually to the country’s economy.

After BTS’s forthcoming concerts in Mexico City sold out in just 37 minutes, Mexican President Claudia Sheinbaum urged South Korea’s President Lee Jae Myung to “bring the acclaimed K-pop artists more often”, noting nearly one million fans in Mexico had attempted to secure 150,000 tickets.

South Korea’s cultural influence is also extending beyond music.

South Korea’s cosmetics exports surpassed $11bn last year, according to global accountancy firm PricewaterhouseCoopers (PwC), overtaking France in cosmetics shipments to the US, while South Korean food and agricultural exports reached a record $13.6bn, according to data from the Ministry of Agriculture, Food and Rural Affairs.

KCTI researcher Yang described the growing interest as a phase of “transition to the global mainstream”, where South Korean products are internationally recognised and content output is measured against worldwide benchmarks such as the Billboard charts and the Academy Awards.

He also warned that structural reform is now essential to keep pace with the wave of interest in South Korea.

“As the industries expand in scale, they must also evolve in its underlying systems, infrastructure, and workforce,” he said.

“Rather than focusing solely on direct financial support, future governmental policies should move toward strengthening foundational conditions – such as improving labour environments, addressing unfair practices, building relevant infrastructure, and establishing more robust statistical and data systems,” he said.

Politicians appear to be paying attention.

During his election campaign last year, President Lee framed the next phase of cultural expansion as “Hallyu (Korean Wave) 4.0”, with promises to grow the sector into a 300 trillion won ($203bn) industry with 50 trillion won ($34bn) in exports.

In line with this vision, the government set the budget to bolster “K-content”, support the “pure” arts sector and strengthen the overall culture-related fields at a record 9.6 trillion won ($6.5bn) — reflecting the president’s view of the cultural sector as a strategic national industry rather than merely a consumer market.

South Korea’s strategy appears to be paying off.

South Korea now ranks 11th globally in “soft power”, according to Brand Finance’s Global Soft Power Index, placing the country as both “influential in arts and entertainment” and “products and brands the world loves”, just behind the US, France, the United Kingdom and Japan.

The darker side of K-pop: Pressure to become a perfect idol

Amid its global success, the darker side of the K-culture industry has received more scrutiny.

Mega-promoter Hybe has been embroiled in a prolonged dispute with K-pop’s New Jeans, a band considered to be a potential heir to BTS and their all-female colleagues Blackpink. The highly public legal dispute that started in 2024 highlights industry tensions over creative control and artist autonomy.

Since the early 2000s, K-pop has also grappled with the legacy of “slave contracts”, or highly restrictive agreements limiting artists’ freedom. Although reforms by the Fair Trade Commission have improved protections for performers, contractual obligations in the K-pop industry are exacting on new performers and their strict work routines have long been documented.

From their trainee years, aspiring idols endure gruelling schedules that involve long workdays and little sleep.

Many top stars often face contractual restrictions on socialising, using their phones or dating. They are also typically limited in what they can say publicly, relying on agency-managed messaging to communicate with fans and the media.

While the rise of social media and other online platforms has opened new avenues for more direct expression and interaction in recent years, concerns over burnout and depression have continued to shadow the industry, with several high-profile stars taking their own lives.

Beauty standards associated with the K-culture genre have also become another flashpoint for controversy.

A 2024 report by South Korean economy news site Uppity found 98 percent of 1,283 respondents born between 1980 and 2000 viewed physical appearance as among the most desirable “social capital” an individual can possess.

Nearly 40 percent of respondents in the survey had undergone cosmetic procedures, while more than 90 percent held neutral or positive attitudes regarding undergoing medical procedures to enhance beauty.

According to the International Society of Aesthetic Plastic Surgery, South Korea has the world’s highest rate of procedures, with 8.9 per 1,000 people compared with 5.91 per 1,000 people in the US and just 2.13 per 1,000 in neighbouring Japan.

Yoo Seung-chul, a professor of media studies at Ewha Womans University in Seoul, said that K-culture has reinforced the normalising of beauty as a significant metric of personal and social value.

“K-culture has reinforced systems and structures around self-expression,” Yoo told Al Jazeera.

“With the rise of webtoons that incorporate themes like plastic surgery, there has been a noticeable reduction in the stigma towards going under the knife among younger audiences in their teens and early twenties,” Yoo said, explaining that popular plastic surgery platforms such as Unni have further normalised the trend by connecting people to clinics and reviews of these clinics and their surgeons.

At the same time, globalisation has reshaped the K-culture industry itself. Many new K-pop acts now include international members to broaden appeal.

Hybe has expanded this strategy through its US subsidiary, Hybe America, producing globally oriented groups like Katseye, which only has one South Korean member in its six-member girl group.

The shift has prompted debate.

Even BTS’s latest album Arirang – a nod to South Korea’s most iconic folk song – has divided fans over its use of English lyrics and foreign producers.

“K-content is being designed with global audiences in mind from the outset. In film, there has been a noticeable rise in genres like horror and science fiction, which are easier to export internationally,” Yoo said.

“This global orientation is also reflected in K-pop agencies recruiting foreign members for idol groups,” he said.

But international audiences do not always prefer highly globalised versions of Korean content, Yoo said, adding, in fact, that many are drawn to K-pop’s “sense of locality”.

As audiences increasingly seek authenticity, Yoo argues the industry faces a defining challenge.

“Industries and companies need to figure out how to preserve a sense of local identity while effectively marketing to global audiences,” Yoo added.

“Striking that balance will be crucial in shaping the next phase of Korea’s cultural exports.”

Banksy has unveiled a new sculpture of a man stepping off a stone base with his face obscured by a flag. The overnight installation in Waterloo Place, London, was revealed in a video shared by the artist, and has drawn fans of his politically charged works.

Chinguetti, Mauritania – Bookkeeper Muhammad Gholam el-Habot gently pulled a pair of white gloves onto his slender hands and set about his routine in his high-ceilinged, cool library lined with steel bookshelves.

He opened a thick manuscript printed in Arabic. After leafing through its brown and frail pages, looking for damage, el-Habot closed the book with a satisfied thud, rubbed his fingers over the wrinkled leather cover, and carefully placed it in a white cardboard box.

“These books are very important to my family and me,” the librarian said, as the midday sunlight spilled in through open wooden doors. He spoke in Hassaniya Arabic, the dialect spoken in Mauritania, his voice low, his sentences halting and poetic. Fat flies buzzed around his long oval face as he worked.

“My relationship with them is like that of a father and his son,” he continued. “We must protect them until God takes the land and all the people who are on the land.”

The el-Habot family library is only one of a handful of its kind still operating in Chinguetti, a medieval fortress town or ksar in Mauritania’s northern Adrar region. Once a centre of commerce and Islamic learning between the 13th and 17th centuries, it is now largely abandoned as, over the decades, locals have sought opportunities in bigger cities.

Chinguetti is also at the mercy of a changing climate.

Mauritania, in northwest Africa, is 90 percent Sahara desert and has faced desertification for centuries. Now, human-induced climate change is an accelerant. Sand and flash storms occur more frequently, while extreme hot or cold seasons last longer than usual.

Those pressures are a “big deal” for precious books, said Andrew Bishop, a researcher at the University of Wyoming studying climate impacts on Saharan cultures.

“Extreme heat and less predictable rainfall patterns means that texts are increasingly damaged by water or heat, making many manuscripts beyond repair. More than that, the mud libraries themselves are not built for sudden rain and longer summer of over 40 degrees (Celsius, or 104 degrees Fahrenheit),” he told Al Jazeera.

Many of Chinguetti’s 4,500 residents now live in cement buildings outside the original confines of the abandoned ksar, built out of dry stone and red mudbrick. There are fears that the entire area, which is about 500 square kilometres (200 square miles) – about the size of Prague – is at risk of being buried by surrounding sand dunes in the long run, although there is not a clear timeline yet.

Islam’s ‘seventh holiest city’

El-Habot did not always want to be a bookkeeper.

But when his father grew sick in 2002, he took over the approximately 1,400 manuscripts out of obligation. It was an honour in his culture to be selected, he said.

It would be out of the question now, the 50-year-old librarian said. He imagines that his two sons would reject the duty, as many of their peers have left to explore economic opportunities in the capital city, Nouakchott, or elsewhere.

“This is something that we have to do; it is a family obligation,” el-Habot said, with a bewildered expression. “This is not even a question to be asked.”

The family manuscripts are sacred because they are rare. The bookkeeper’s ancestor, Sidi Mohamed Ould Habot, was one of about two dozen Chinguetti scholars who travelled around the Muslim world between the 18th and 19th centuries, from Egypt to Andalusia, in search of knowledge.

Between them, the scholars amassed a vast fortune of about 6,000 scripts. They covered almost every topic: Islamic jurisprudence, the hadith or teachings of the Prophet Muhammad, mathematics, medicine, and poetry. Some of the works came from the scholars themselves, including the older el-Habot, who wrote about the science of poems.

The books were stored in about 30 libraries in Chinguetti, open to people from all over the world.

At the time, the town was famous because of its location at the crossroads of trans-Saharan trade routes linking the Sahel and the Maghreb. Camel caravans guided by nomadic Berber traders transporting goods – mostly salt and gold – between northern Africa and the southern empires used the city as a way station, transforming it into a commercial hub.

Muslim pilgrims on their way to Mecca on foot or camel would gather in Chinguetti and prepare themselves spiritually and mentally for their long, difficult journey before heading on to Cairo. Islamic and scientific texts were exchanged, bought and sold in the town.

In West African lore, Chinguetti was referred to as Islam’s seventh holiest city. Others nicknamed it the “Sorbonne of the Sahara”, according to UNESCO.

Generation after generation managed the libraries. Over time, as the caravan trade declined due to new European sea routes, the old town emptied and several libraries closed.

“Chinguetti was the mother of all people,” el-Habot said, referring to the town’s old status as the main capital of the region. Indeed, the area now known as Mauritania was called “Bilad Shinqit” or Land of Chinguetti. In the local Soninke language, it translates to “spring of horses”.

“People had to go because they wanted to feed themselves, get education for their kids, and get better opportunities for themselves too,” el-Habot said, adding that there were no universities close by, and only a handful of primary and middle schools.

Some within his family have moved on, as well, the bookkeeper said. Those, like him, who stayed back, wanted to respect their ancestor’s three wishes.

“His wishes were that the library stay in Chinguetti, that it should be open to all seekers of knowledge, and that a male descendant of his who is religious and morally upright be the bookkeeper,” el-Habot explained. Not following those instructions, he said, could invite God’s anger.

Chinguetti’s decline is largely due to the lack of support for its traditional lifestyle, Bishop said. Annual rainfall in Mauritania has decreased by 35 percent since 1970, making it harder for herders to graze or for date palms to produce fruit.

In 1996, UNESCO granted Chinguetti and three other Mauritanian ksour World Heritage Status, cementing their rich legacy. The few people still living in the old town are allowed to renovate but only minimally, to keep its original stone architecture and the typical Moorish structuring where houses are lined up along narrow alleys that lead to a mosque with a square minaret.

Just outside Chinguetti are the excavated ruins of Abweir, a town of 25,000 believed to have been founded in 777 AD, and believed to be the “original” Chinguetti. Its residents moved from the settlement, locals believe, in 1264 – likely after a conflict. Over time, the area was completely swallowed by sand.

Saving the manuscripts

El-Habot’s job, while enjoyable much of the time, is also taxing, he admitted.

Preserving old books by reprinting or digitising the most worn-out manuscripts before they become unreadable is a costly process. He often needs chemicals to keep away book-eating insects and has to fund more suitable storage.

Then, there is the weather, which is out of his control. Mauritania swelters in the dry season between April and December, and is bitingly cold in the winter months that follow. Old pages are sensitive to both extremes and can become brittle, el-Habot said. Sometimes, when it is really hot, he places buckets of water around the library hall to spur humidity.

Flash floods, meanwhile, threaten water damage.

Visitors to the library usually pay a small fee, but tourist numbers dropped drastically across Mauritania in the mid-2000s, when armed groups attacked foreigners. The COVID-19 pandemic also reduced the flow of travellers.

Mauritania has since clamped down on violence. Tourists are slowly coming back, el-Habot said, and some of the locals who left have also returned.

In 2024, a $100,000 UNESCO restoration project provided air-conditioning units, computers and printers, as well as shelving units and storage boxes to 13 family libraries to stimulate the sector. But most libraries remain closed, their texts scattered among members. The lack of capacity of young people who are not as interested in preserving Chinguetti’s culture will continue to pose a challenge, Bishop said.

Back in the library, el-Habot continued working, his thin frame bent over his manuscripts. He opened one book and pointed excitedly at its pages: They depicted the moon in its luteal phases, and an eclipse. A third page showed the holy cities of Mecca and Madina.

“I have to protect this heritage,” el-Habot said in his low voice. “As mine, and also for all of humanity.”

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”