On March 20, 2026, a fire broke out at a subcontractor of Hyundai Motor, killing 14 workers. Including firefighters injured while extinguishing the blaze, more than 60 people were wounded. It happened just one day before BTS’s comeback performance at Gwanghwamun in Seoul.
Articles reporting that BTS leader RM had injured his ankle during rehearsal and would have limitations in performing the choreography were featured hundreds of times on portal main news pages, smartphone news alerts, and even elevator media boards. Meanwhile, news of the fire remained brief and did not lead to in-depth coverage. As the identification of the victims was delayed, their families were unable to hold funerals and were left in anguish, yet one had to deliberately search for and find related articles to even learn about it.
Weeks before the BTS performance, the Seoul city government had warned of major congestion in the area. Many citizens questioned whether such concern was warranted, yet endured the discomfort of handing over the public square to a large media event in the name of enhancing national prestige. Thus, BTS was introduced to the world as the face of the square, while the faces of ordinary people who had stood there before were rarely seen. Even when they wish to voice their concerns more desperately to a larger audience, they are often blocked by the “Assembly and Demonstration Act,” unable to even gain the opportunity to stand in the square. There is also little media coverage that represents them.
We must become witnesses, not merely spectators. Spectators only see what is shown to them, but witnesses face reality directly and distinguish truth from falsehood. A spectator’s best effort ends with inferring unseen information on the screen and grasping the creator’s intent, whereas a witness testifies to what they have seen and urges it to be officially recorded in the world. This is the urgent task for the ordinary faces living in a “society of the spectacle.”
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