Hanni of NewJeans Not Classified as Employee Under Labor Law, Ineligible for Workplace Harassment Protections

Hanni, a member of the internationally popular K-pop girl group NewJeans, has been informed she does not qualify as an employee under South Korean labor law; this ruling has generated a lot of discussion about the legal rights and workplace protections for artists in the entertainment industry. This followed the end of an investigation by the Seoul Regional Office of Employment and Labor on a harassment allegation made by Hanni’s supporters, centered on an incident whereby a manager from another K-pop group under the HYBEallegedly advised their artists to “ignore” Hanni within the HYBE headquarters in central Seoul.

Deeper Analysis of Industry Practices: The Allegation of Harassment

The harassment complaint was reported shortly after Hanni’s dramatic testimony at a parliamentary audit on October 15, when she broke down in tears describing the challenges K-pop performers face in the industry. The situation that led to the allegation began when a management allegedly told musicians under their control to avoid Hanni, which set off a riot from her fans. They answered by formally complaining to the Labor Office, which intended to investigate the occurrence under provisions related to workplace harassment. Still, the government stopped the investigation after determining Hanni did not match the Labor Standards Act’s legal definition of an employee.

The government’s ruling highlights the absence of legal rights of K-pop artists and other musicians since it reveals a legal loophole in South Korean labor law that prevents them from receiving the same protections afforded to other employees. These days, this problem is under debate as a prominent example of the constraints on workers’ rights related to people in the entertainment sector.

Why Hanni Does Not Count as an Employee: Crucially Important Legal Definitions

Under the Labor Standards Act, an employee is “a person, regardless of the type of occupation, who offers labor to a business or organization in exchange for wages,” therefore establishing a subordinate connection to the employer. In Hanni’s case, however, the Seoul Regional Office of Employment and Labor made clear that her management contract with ADOR, the agency representing NewJeans, did not establish her as an employee in the traditional sense. Instead, the contract was supposed to represent an agreement between “two equal parties” free from any clear employer-employee relationship.

The Labor Office compiled several reasons Hanni does not fit as an employee according to the law. Among these are the lack of a clear work location, the absence of established working hours, and the fact she shares agency expenses related to events. Besides, Hanni receives payment for her songs and performances rather than a traditional salary or income. She separates herself from the role of an employee by additionally paying taxes on her earnings as company income rather than employment income.

The agency also referenced a 2019 Supreme Court ruling by South Korea defining agreements between performers and entertainment businesses as commission-based rather than employment-based. Following this trend, many K-pop singers now legally see their employment as business transactions rather than labor agreements.

The Greater Issue: Methodical Lack of Protection for K-pop Artists

Hanni’s circumstances clearly show the more widespread issue in the K-pop scene, whereby many artists labor under contracts devoid of the same legal protection as regular employment. Since many K-pop artists have to cope with poor working conditions, long hours, and little control over their personal and professional lives, this has long been an issue. Artists like Hanni routinely negotiate exploitative contracts whereby they are paid based on commission rather than a set salary and are subject to rigorous, sometimes negative business procedures devoid of the legal protections given by other employees.

Often at the price of their mental health and well-being, this lack of safety has long been a source of concern in the South Korean entertainment industry, where celebrities are expected to be quite dedicated to their agency and career. Especially the predicament of Hanni has sparked a debate on the need of legal adjustments granting performers in the entertainment business more rights and protection.

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Testimony of Tears: Promoting Legal Reform and Human Rights for Artists

Her appearance before legislators in October was a moving moment for Hanni and the public as well. Emphasizing that K-pop singers are people deserving of basic rights and dignity, she cried during the parliamentary audit as she asked for more respect for their humanity—that they are not merely commodities for business. “We are human beings,” Hanni stated softly, urging the National Assembly to acknowledge the specific challenges artists face in the business.

Many politicians, from both the ruling and opposition parties equally, who expressed concerns over the legal gaps exposing artists to connections greatly related with her testimony. This lack has led to widespread abuses resulting from insufficient legal protection of entertainers’ rights; Hanni’s passionate demand for change has brought this topic front and front in national debate.

Reviewing current labor laws will help legislators to include specific clauses for artists and performers, so ensuring their entitlement to the same rights to fair working conditions, protection from harassment, and the possibility for mental and emotional well-being that other employees enjoy. The public demonstration by Hanni against the mistreatment of K-pop superstars could signal the beginning of a significant transformation in the way the entertainment industry treats its stars.

Rising Conflicts and a Demand for Change: NewJeans and ADOR

Hanni’s circumstances also match growing conflict between NewJeans and ADOR, their agency. Formally writing ADOR on November 13, the company asked for various management system changes. Among their demands was the comeback of former CEO Min Hee-jin, whose management approach they considered to be more artist-oriented. NewJeans made clear in the letter that should their needs go unfulfilled, they will terminate their exclusive contracts with ADOR, therefore suggesting that their displeasure had reached a breaking point.

This behavior has drawn focus on the internal dynamics of NewJeans as well as on the more general challenges K-pop groups have in regulating their interactions with agencies. Conflicts often arise when K-pop singers believe their voices are not being heard or valued since they are regularly required to sign long-term exclusive contracts largely benefiting their agency.

The circumstances of Hanni and the demands from NewJeans for more career management underline the urgent need for reform inside the K-pop scene. As K-pop keeps acquiring global appeal, growing calls on both the South Korean government and entertainment firms to recognize the significance of their musicians not just as entertainers but also as persons with rights and personal autonomy.

Under commission-based contracts, South Korean artists are not fully covered under the present legal system, which raises their vulnerability to harassment and abuse. If the business is to remain shining in the global attention, it has to consciously endeavor to build a regulatory framework assuring the safety, health, and well-being of the performers at its heart. Musicians like Hanni and NewJeans members are leading the charge in advocating this change; their voices are beginning a much-needed conversation about the direction of the K-pop scene.

As more K-pop idols and musicians support the need for legal protections, there is hope that the entertainment industry would evolve to suit their demands. The circumstances of Hanni and NewJeans reminds us powerfully that these musicians merit the same job safeguards as any other employee even if they may be on the international scene. Should the ongoing dialogue lead to specific legislative changes, it will open the road for a more fair future for K-pop artists, therefore guaranteeing not just their artistic capacity but also their work protection.

The conversation about Hanni’s case marks only the beginning of a more widespread campaign toward better working conditions and legal rights for K-pop artists and entertainers. If this is the catalyst for change, it will not only benefit present musicians but also create a stronger, more sustainable industry for next generations of stars.