SEOUL, February 20 (AJP) -Snow has melted on Mount Bugak, revealing dark rocks and early greenery above the skyline. Below, the statue of King Sejong the Great stands at the mouth of Gwanghwamun Gate, gazing over an avenue quietly preparing for a moment it was never designed to imagine — the return of BTS.
The historic corridor, where royal processions once passed and modern protests later gathered, is being transformed into an open-air stage. As spring settles over central Seoul, Gwanghwamun Square is readying itself to host a global spectacle — one that connects centuries of memory with a new chapter in Korean pop history.
Stretching roughly 550 meters from Gwanghwamun Gate at Gyeongbokgung Palace toward City Hall, Gwanghwamun Square forms Seoul’s historic spine.
“Gwanghwamun” means Gate of Enlightenment. First built in 1395, it once marked the threshold between royal authority and civic life. Behind it stood kings and scholars. In front of it unfolded the life of the capital.
The modern square is young — completed in 2009 and redesigned in 2021 — yet its purpose remains ancient: to connect power, people and place. Today, it functions as both an urban plaza and a national mirror, reflecting how Seoul sees itself at any given moment.
At the northern end of the square stands King Sejong the Great, creator of Hangul and architect of Korea’s intellectual foundation. He faces south, watching over a city built on the alphabet he gave his people.
Further down stands Yi Sun-sin, the naval commander who became a symbol of survival during the Imjin War. His statue does not look outward. It looks forward — toward uncertainty.
Together, they form a silent dialogue: knowledge and courage, language and defense, culture and endurance.
Between them flows everyday Seoul — office workers at lunch, tourists with cameras, families with strollers. History here is not sealed behind glass. It is walked past, leaned against, lived with.
For generations, Gwanghwamun has been Korea’s open-air theater. Royal processions once passed through its gates.
Independence activists gathered nearby. Democracy movements filled its streets. Candlelight vigils reshaped politics here.
In recent years, it has hosted festivals, parades, marathons and global pop culture events. A “Squid Game” parade. Family runs. Liberation commemorations. Public celebrations.
Now, it prepares for BTS. The group’s logo and comeback date have appeared on the steps of the nearby Sejong Center for the Performing Arts — a signal that this space is once again shifting roles.
From civic forum to concert hall.
BTS returns with ARIRANG, their first new album in nearly four years since Proof in 2022. The title invokes Korea’s best-known folk song — a melody of separation, longing and return. Performing it here is not accidental.
Gwanghwamun represents continuity. It holds together dynasties and democracies, textbooks and smartphones, palace roofs and LED screens. It embodies the idea that modern Korea moves forward by carrying its past with it.
For BTS, now a global institution, this matters.
What began in small studios and music shows now unfolds before royal gates. What traveled the world returns to its cultural axis. The message is clear: global success does not require cultural erasure. It can deepen it.
Where the past and future meet
On an ordinary day, Gwanghwamun Square feels like Seoul’s living room.
People pass through. Sit down. Argue. Rest. Take pictures. Move on.
Soon, millions will watch it become something else — a temporary convergence of history, fandom and sound.
Behind the stage will stand a palace gate older than most nations.
Nearby, statues of kings and admirals will remain unmoved.
Above, drones and cameras will broadcast the moment worldwide.
And in between, BTS will sing. Not in a stadium. Not in an arena.
But at the crossroads of Korean time.
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