South Korea

South Korea says it is investigating an incident on May 4 when two unidentified objects struck a Korean-operated cargo ship in the Strait of Hormuz.
The strike caused a fire and damaged the vessel’s stern.

Seoul appeals court cuts ex-prime minister’s prison sentence from 23 years to 15.

A South Korean appeals court has reduced the sentence of former Prime Minister Han Duck-soo by eight years for crimes relating to ex-President Yoon Suk Yeol’s declaration of martial law.

The verdict was issued in the South Korean capital, Seoul, on Thursday.

Yoon’s decree in December 2024 briefly suspended civilian government and plunged South Korea into chaos, but it only lasted about six hours as opposition lawmakers moved quickly to overturn it in a vote.

A lower court had sentenced Han in January to a heavier-than-expected jail term of 23 years for engaging in the insurrection, as well as on related charges of perjury and falsifying an official document.

But the appeals court in Seoul cut that by eight years on Thursday, with the presiding judge announcing: “We sentence the defendant to 15 years in prison.”

The court still maintained most of Han’s convictions but lessened the penalties after taking into account his “more than 50 years as a public official prior to the martial law declaration”.

“The records also make it difficult to find evidence showing that the defendant participated more actively in the insurrection, such as by conspiring in advance or systematically leading the operation,” the judge said.

However, he said Han had “abandoned the grave responsibilities arising from the authority and position entrusted to him and instead sided with those participating in the acts of insurrection”.

Han, wearing a white shirt and a dark suit with no tie, listened to the verdict without showing much emotion.

The 76-year-old has been imprisoned since his original sentence in January.

Han had denied wrongdoing on all charges except perjury, saying in November that while he regretted not being able to stop Yoon from declaring martial law, he “never agreed to it or tried to help”.

Han is an experienced technocrat, who served in senior posts under five presidents.

He became the acting president after Yoon was impeached, before his own impeachment on accusations of having aided Yoon in the martial law declaration.

The Constitutional Court overturned Han’s impeachment, restoring his powers to serve as leader before he resigned from the post to run in a snap election in June.

He ended his bid for the presidency following rifts among conservatives.

Yoon, who faces eight separate trials, was handed a life sentence in February on charges of “masterminding an insurrection”.

Yoon, a former career prosecutor, denied the charges, arguing he had presidential authority to declare martial law and that his action was aimed at sounding the alarm over opposition parties’ obstruction of government.

He has apologised for the “frustration and hardship” brought upon the people by his martial law decree, but said in a statement after the sentencing that he stood behind the “sincerity and purpose” behind his actions.

Naegohyang FC will play the South’s Suwon FC on May 20 in the semifinal of the Women’s Asian Champions League.

A North Korean women’s football club will become the first sports team from the country to play in South Korea since 2018 when they visit this month, Seoul’s Ministry of Unification has confirmed.

The neighbours remain technically at war after their 1950-53 conflict ended in an armistice rather than a peace treaty, and sporting and cultural exchanges between them are very rare.

Naegohyang Women’s FC will play the South’s Suwon FC Women on May 20 in the semifinals of the Asian Champions League.

The visiting delegation will include 27 players and 12 club staff, the ministry said on Monday. South Korea’s football association told the AFP news agency that the team would arrive on May 17.

They will fly into Incheon airport on an Air China flight from Beijing, a Unification Ministry official said.

The winner of the match at Suwon Sports Complex, south of the capital Seoul, will play the final of Asia’s top women’s club competition against either Australia’s Melbourne City or Japan’s Tokyo Verdy Beleza on May 23.

“The losing team in the semifinal will return home on Thursday, May 21, with no third-place playoff scheduled,” the ministry statement added.

The match will be the first time a North Korean sports team has played in the South since shooting, youth football and table tennis delegations travelled there in 2018.

The last time Pyongyang sent a women’s football team to the South was in 2014, when the North Korean national team took part in the Asian Games in Incheon.

Founded in 2012 and based in the North Korean capital, much of Naegohyang’s squad is “made up of national team-level players”, the ministry said.

North Korea’s national team is one of the dominant forces in Asian women’s football, winning multiple international titles in recent years, especially at the youth level.

The most recent one came in November last year, when they defeated the Netherlands 3-0 in the final of the U-17 Women’s World Cup.

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.”