STORIES of unpleasant encounters with racist treatment in South Korea have long circulated quietly among travellers, students and migrant workers from South-East Asia. But what was once sporadic and largely anecdotal has now erupted into a bold, undeniable issue as these experiences have been thrust into the spotlight via heated exchanges on social media.
The latest flare-up stemmed from a recent K-pop concert in Malaysia, when a South Korean “fan site master” was caught bringing in professional cameras in violation of an existing ban, sparking online criticism.
This quickly escalated into racist attacks by some South Korean netizens, or “Knetz”, who mocked the facial features and darker skin tones of people from South-East Asian countries.
In response, the region’s netizens rallied together under the SEAblings (South-East Asian siblings) movement, a hashtag that gained regional prominence last September following the protests in Indonesia, to assert South-East Asian solidarity and push back against online racism.
The movement eventually called for a boycott of South Korea’s cultural exports, including K-dramas, K-pop, movies, fashion and K-beauty.
The cultural exports have even become the country’s major economic driver and ranked fourth in 2025 behind semiconductors, automobiles and petrochemicals.
The Korea Creative Content Agency reported that the Korean content industry’s cumulative exports reached US$10.3bil (RM40.1bil) by the third quarter of 2025, the highest total ever recorded in the first three quarters of a given year.
Full-year exports are expected to surpass US$15bil, highlighting the economic weight of K-culture. Beyond their commercial impact, cultural products are also a key pillar of South Korea’s soft diplomacy, helping to cement its global influence.
South-East Asia remains a huge market for K-culture. Aside from Indonesia, Malaysia, the Philippines and Thailand consistently rank among the world’s top K-pop and K-drama audiences, particularly on social media.
Given this massive consumption power, the renewed SEAblings movement is encouraging viewers to explore alternative entertainment, including local and regional television series and movies as well as productions from other Asian countries like China, which are steadily gaining popularity across Asean countries.
Indonesia in particular is home to one the most passionate fan bases, underscoring its importance for creators. The backlash has prompted several Korean creators to issue public apologies, emphasising that there is no justification for racism.
One creator even addressed online audiences in Indonesian, while another noted that many South Koreans respected and felt a strong connection to Indonesia, and that the recent discriminatory behaviour did not reflect a majority view. He also urged other Knetz who posted negative comments to practice self-reflection, warning that racist remarks could escalate tensions and even harm bilateral relations.
So far, the government has remained silent on the issue. At its core, the SEAblings movement is more than a fan-led boycott. It is a powerful signal of the importance of cross-cultural respect in an increasingly interconnected world.
South-East Asia has long been a major market of the so-called Korean Wave, or Hallyu, but this region also wields influence and capacity in shaping global entertainment trends.
Left unchecked, racial discrimination and cultural insensitivity risk eroding the goodwill that South Korea has spent years in building while opening the door for other players to attract regional audiences.
The stakes are both cultural and economic: Platforms streaming Korean content in South-East Asia reported a drop in engagement at the height of the online dispute, showing how quickly regional consumers can exert social and financial pressure.
The takeaway is undeniable: Mutual respect carries significant weight globally.
In an era when people-to-people exchanges transcend physical borders, fostering cross-cultural understanding is no longer a courtesy. It is a requisite for success.
K-culture and the broader Hallyu ecosystem have established a brand with global recognition, but maintaining this requires more than just exportation.
It also demands cultural sensitivity, inclusivity and respect for all audiences.
South-East Asia’s netizens have sent a strong message that racism, in any form, will hurt both reputations and markets alike. — The Jakarta Post/Asia News Network
