The SNU Center for Contemporary Korean Studies held an international conference titled “Korea as Symptom” over two days, August 22 and 23. As the second session on the second day of the conference, the Global Hallyu Team organized a panel titled “Kpop, Fandom and Cultural Practices” in Room 240 of Building 101 at Seoul National University. Chaired by Professor Younghan Cho (Hankuk University of Foreign Studies), the session featured four presentations.

In the first presentation, William Dunkel, a doctoral student at the University of California, Irvine, presented “‘Anything to Say to Your Fans?’: Gendered Fandom and Labor in Korean Esports.” Dunkel examined esports fandom in South Korea, noting that, unlike in many Western contexts, the Korean esports fandom relies heavily on the participation of female fans. Drawing on interviews, he explored how gender roles are performed and negotiated within Korean esports spaces.

The second presentation was delivered by Tabitha Adler, a doctoral student at Goethe University Frankfurt, under the title “Self-Made K-pop Photocards in South Africa: Local Fan Practices as a Way of Dealing with South Korean Popular Culture.” Adler examined fan practices surrounding the production of merchandise in sub-Saharan Africa, where official K-pop merchandise is often difficult to access. In response, fans produce and distribute their own photocards. She argued that these fans go beyond the role of passive consumers, developing a deeper interest in Korea and actively participating in the circulation and promotion of Korean culture.

In the third presentation, Hyemi Lim, a doctoral student at Université Paris Cité, spoke on “Performing Korea: K-pop Cover Dance and the Transformation of Public Space in France.” Lim approached K-pop as a global cultural practice that reshapes both urban space and youth culture. According to the presentation, K-pop cover dance extends beyond conventional fan activity by taking place in public squares, transportation hubs, and cultural landmarks across France. Through these practices, young participants cultivate a sense of community and develop their own artistic identities.

Finally, Professor Meicheng Sun (Beijing Language and Culture University) presented “K-poppers and Hip Hoppers in Beijing: Dance, Professions, and Mobilities.” Sun compared the professional positions of K-pop dance instructors and street dance instructors, with particular attention to how geographical, social, and virtual mobility shapes their identities and status within the industry.

The session focused on the cultures of K-pop fandom, demonstrating how K-pop has developed beyond the realm of popular music into a wide range of cultural practices across different parts of the world. In France, K-pop contributes to the reconfiguration of urban public spaces; in China, it generates new forms of professional mobility; and in South Africa, it gives rise to locally produced fan cultures. Taken together, these practices illustrate the broader cultural transformations taking place through music and transnational fandom.