Abstract
K-pop's globalization has introduced non-Korean idol groups, raising questions about identity negotiation. This study examines Blackswan and EXP Edition, analyzing how they navigate cultural boundaries and industry expectations. Negotiating with Korean audiences demands linguistic proficiency, adherence to the trainee system, and alignment with Neo-Confucian ethics, while global engagement requires flexible language-switching, global pop aesthetics, and character reinvention. While these groups may expand K-pop's reach, they can also reinforce racial and cultural hierarchies. Their negotiation remains constrained by identity discipline and nationalist ideology. This study highlights the complexities of identity negotiation in local and global K-pop. Meanwhile, it offers a conceptual framework for understanding cultural hybridity in K-pop that integrates macro-level policy, meso-level transnational cultural flows, and micro-level fan participation.
Keywords
Introduction
Globalization has created cross-cultural spaces where audiences and platforms mediate and reshape cultural identities across borders (Jensen et al., 2011; Dorjee and Ting-Toomey, 2020). As K-pop expands globally, its success relies on effective identity negotiation, adapting to diverse cultural expectations while maintaining global appeal. Yet, this process remains challenging, as failed negotiations can result in alienation (Vaccaro et al., 2015).
K-pop rooted in Korean national identity yet targeting global audiences, exemplifies these challenges. Early internationalization mainly involved East and Southeast Asian performers, while non-Asian groups remain rare. Recently, fully non-Korean K-pop groups such as Blackswan and EXP Edition have emerged, navigating both Korean and global cultural expectations while striving to maintain authenticity within the K-pop system.
This study focuses on how non-Korean K-pop groups, particularly Blackswan and EXP Edition, negotiate their identities within both Korean and international entertainment contexts. By examining these groups’ strategies for performing K-pop identity while maintaining a global appeal, this research contributes to the understanding of identity negotiation in globalized pop culture. Specifically, it examines how Blackswan adapts to K-pop's hybrid identity through active audience engagement and platform-mediated interactions to succeed in both Korean and global markets, whereas EXP Edition's weaker integration into these audience-platform dynamics limits its sense of belonging.
Literature review
Introducing identity negotiation into pop culture studies
Identity is shaped by a variety of cultural, ethnic, social, and professional factors (Ting-Toomey, 2017). It is continuously reconstructed through social interactions, particularly in cross-cultural contexts (Harrison et al., 2015; Miller and Poole, 2024; Schenkein, 1978; Swann, 1987). Relatively, identity negotiation involves adjusting and affirming identities using linguistic and non-linguistic means (Downey et al., 2006; Scotton, 1983) and requires intercultural competence (Ting-Toomey, 2005). Previous studies show that individuals navigate cultural expectations by selectively presenting different identities (Ting-Toomey & Oetzel,2013), redefining their identity constructs across contexts (Cohen and Kassan, 2018; Dorjee and Ting-Toomey, 2020; Janík, 2017; Toomey et al., 2013; Zhang et al., 2025).
In the context of transnational pop culture, identity negotiation plays a crucial role in how artists connect with diverse audiences across cultures. For example, K-pop idols navigate the tension between Korean industry legitimacy and global appeal by utilizing multilingual communication, hybrid aesthetics, and fan interactions (Back, 2015; Pennycook, 2010). Through the integration of linguistic symbols, ethical values, and ideological markers in their performances (Aoyagi, 2005), they shape audience perceptions and foster cross-cultural exchanges (Seitzinger, 2014). Non-Korean K-pop idols, in particular, may strategically employ language, fashion, and thematic elements to continuously renegotiate their identity in response to evolving cultural expectations.
Regarding audience, their participation in digital spaces complicates identity negotiation nowadays, as social media users shape their own identities and also influence how pop idols are perceived on a global scale (Darling-Wolf, 2000; Park, 2013; Zhu & Zhang, 2025). Fan discourses, remix cultures, and algorithm-driven visibility either reinforce or challenge existing cultural narratives (Fang and Duff, 2018). Digital platforms amplify the fluidity of identity, enabling individuals to strategically present themselves through multimodal sharing (Hanckel et al., 2019). While some fans embrace hybrid identity performances, fostering transnational exchange, others impose rigid standards of authenticity, thereby reinforcing cultural hierarchies.
Admittedly, despite the growing interest in transnational pop culture, research on identity negotiation in this context remains underdeveloped (Edensor, 2020; Pennycook, 2010). Existing studies have primarily focused on cultural hybridity and authenticity, often overlooking the bidirectional nature of identity negotiation between artists and audiences. Many studies emphasize either performer-driven identity construction or audience reception, without fully considering the interaction between the two. Moreover, social media and online discourse mediate identity negotiation have been insufficiently explored. Addressing these gaps will deepen our understanding of how global pop culture is shaped by both strategic self-representation and participatory reinterpretation.
Complexities of defining the “K” of K-pop
K-pop cannot be reduced to merely Korean popular music within Hallyu culture; its evolution is deeply tied to South Korea's cultural and geopolitical strategies, particularly cultural diplomacy (Jin, 2019). After the Korean War, South Korea used culture as soft power, laying the foundation for K-pop's global rise. Early K-pop blended Western musical influences with Korean elements, creating a hybridized music form. The trainee system in the early 2000’s led to a highly commercialized idolization model, refining groups like H.O.T, TVXQ!, and Girls’ Generation. K-pop's international expansion accelerated in the 2010’s, with EXO's success in China and BTS's rise in the U.S., reflecting a strategic approach by South Korean agencies (Kang, 2017).
Following China's “Hallyu ban,” which restricted South Korean entertainment, K-pop pivoted to the American market, aligning its content with U.S. values of multiculturalism and diversity. This shift resonated with growing U.S. acceptance of non-Western music, as K-pop's hybrid nature matched left-wing cultural narratives promoting inclusivity (Jin, 2014; Trzcińska, 2020). Early milestones like Wonder Girls’ 2009 U.S. debut with “Nobody” paved the way for later collaborations, such as ROSÉ with Bruno Mars on “APT.,” showcasing K-pop's success in Western pop music. These collaborations signal shifting power dynamics in global entertainment, where K-pop now shapes global pop culture (Jin, 2019). BTS's global success, culminating in Billboard dominance, sparked a “return” to local recognition, highlighting the interplay of local and global identities.
K-pop's international success is rooted in its distinct relationship with Western especially American popular culture. While incorporating Korean language and vocal traditions, it draws heavily from Western musical styles like pop, hip-hop, and R&B (Sivanesan and Mokhtar, 2024). This blend of local and global influences, commonly referred to as cultural hybridity, has been key to K-pop's appeal. Cultural hybridity in K-pop encompasses linguistic mixing, integration of diverse musical styles, and hybridized visual aesthetics, enabling groups like BTS and BLACKPINK to seamlessly navigate both Korean and English markets (Jin and Ryoo, 2012). PSY's “Gangnam Style,” which combined Korean lyrics with a memorable English hook, exemplifies this strategy, using cultural hybridity to transcend language barriers and achieve global success (Jung and Shim, 2013; Yoon and Schattle, 2017).
Meanwhile, K-pop's global rise is entwined with South Korea's ambivalent relationship to American cultural power. As Kim (2011 & 2021a) notes, Hallyu's evolution reflects both mimicry and reappropriation, adapting U.S. sensibilities while transforming a once “minor” culture into a dominant global form. This hegemonic mimicry renders Koreanness hybrid and ethnic rather than purely national. Likewise, Lie (2021) shows how BTS, through creative autonomy and fan participation, redefines K-pop's U.S.-influenced production logic, illustrating how digital fandom reshapes cultural hierarchies and contests the dynamics of digital colonialism.
Consequently, instead of being understood merely as Korean popular music within Hallyu culture, the development of K-pop reflects the interplay of multiple forces, including government initiatives, industry strategies, market dynamics, fan agency, and transnational cultural flows (Jin, 2019; Min, 2024). Digitalization further transformed the industry, shifting to online platforms and streaming, thereby enhancing its competitiveness and reach (Parc and Kim, 2020). At the same time, audiences play an active role: international fans negotiate cultural distance, contest stereotypes, and form affective communities that sustain K-pop's transnational momentum (Yoon, 2019). These multidimensional dynamics suggest that Hallyu cannot be narrowly understood as an extension of Korean soft power, but rather as a hybridized cultural field shaped by state, industry, market, and audience interactions.
K-pop's complexities challenge any simplistic or literal definition. While it is deeply rooted in Korean cultural characteristics and reflects South Korea's nationalistic policies (Kim, 2023; Oh, 2013; Oh and Lee, 2014) 1 , it has also adapted to the global market by incorporating foreign influences and Western performance techniques. This duality is evident in phenomena such as BTS's English-language songs and the increasing trend of non-Korean members in K-pop groups. These developments raise important questions about the preservation or erosion of the “K” element in K-pop, highlighting the tensions inherent in its global expansion. Such dynamics underscore the need for further exploration into how K-pop negotiates its cultural identity while continuing to grow on the international stage.
Local versus global: tensions within K-pop's internationalization
The globalization and digitalization of K-pop have created a complex interplay between local and global elements, leading to tensions. Scholars note that K-pop's digital transformation has shifted industry dynamics from offline to online platforms, and from local to international suppliers (Parc and Kim, 2020). As artists engage with both local and global audiences, they continuously negotiate their identities. Despite increasing cosmopolitanism, global audiences still expect K-pop to retain distinct Korean characteristics (King-O’Riain, 2021). This underscores the internationalization of K-pop, which remains deeply connected to its cultural roots. Non-Korean idols and global collaborations further complicate this dynamic, requiring ongoing identity negotiation to ensure relatability to both Korean and international fans.
On one hand, K-pop idols must align with Korean cultural expectations to maintain domestic recognition, even as their global popularity continues to grow. This paradox suggests that as K-pop becomes more global, it must emphasize its Korean identity to retain domestic support (Koo and Koo, 2022). Korean fans often expect idols to embody traditional values and national pride, particularly in Korea's post-colonial history (Han, 2014). Idols, especially non-Korean ones, must carefully navigate their public personas to avoid alienation. For instance, a member of TWICE, SANA's nostalgia for Japan's Heisei era sparked controversy (Catalano, 2024), while differences in cultural rituals often lead to debates within fan communities (Lee, 2013), highlighting the ongoing process of identity negotiation.
On the other hand, K-pop's global expansion necessitates a balance between maintaining its Korean essence and achieving international appeal. Scholars argue that K-pop's globalization fosters cross-cultural dialogue, creating hybrid identities that blend Korean and global influences (Cruz et al., 2021). Non-Korean idols serve as cultural intermediaries, helping to extend K-pop's reach while embodying a more inclusive representation. This reflects a strategic effort to internationalize the genre while preserving its distinct cultural identity.
The inclusion of non-Korean members in K-pop groups complicates the negotiation between authenticity and global appeal. Groups like KARD, which includes members from South Korea, Brazil, and the U.S., and Blackswan, with members from Belgium, India, and Senegal, exemplify how K-pop agencies recruit international idols to expand their market while maintaining alignment with K-pop's industry standards. Similarly, EXP Edition, composed entirely of non-Korean members, highlights debates on cultural legitimacy and K-pop's evolving identity. These groups balance multicultural representation with K-pop's core performance style, sound, and aesthetics, illustrating how K-pop adapts its identity to engage with both Korean and international audiences.
Current study and research questions
This study examines how non-Korean K-pop idol groups, such as Blackswan and EXP Edition, negotiate their identities within both Korean and global entertainment contexts. Existing research lacks a comprehensive understanding of identity negotiation as a bidirectional process shaped by both performers and audiences. It explores how identity negotiation operates within K-pop's structured entertainment system and how global audiences influence these formations. The research also highlights the tensions and contradictions that arise, offering insights into cultural adaptation, global reception, and digital participation in K-pop. The study addresses two key questions:
Methods
Case selection
This study adopts a multiple case study design to explore how non-Korean K-pop groups negotiate identity. A case study approach is suitable for examining complex cultural phenomena where contextual and institutional factors are crucial. The focus on fully non-Korean K-pop groups rather than non-Korean members within Korean groups was deliberate. While mixed-nationality groups such as TWICE illustrate intercultural collaboration, their Korean members often act as cultural mediators who bridge linguistic and cultural gaps. In contrast, all-foreign groups lack such intermediaries and must negotiate legitimacy and belonging directly within the Korean entertainment framework. This analytical focus aligns closely with the research questions on identity negotiation and authenticity, as it reveals how the symbolic “K” of K-pop is performed and sustained when Korean nativeness is absent.
Among various groups, Blackswan and EXP Edition were selected following a two-round Delphi consultation with five scholars specializing in Korean Wave and global pop culture studies, ensuring that the cases reflect both typicality and contrast. After two-round discussion, experts reached over consensus that Blackswan and EXP Edition best represent a typical-contrastive pairing: Blackswan embodies institutional continuity and adaptation within Korea's idol system, whereas EXP Edition represents an experimental, outsider formation.
Both groups consist entirely of non-Korean members (see Table 1), perform in Korean, and self-identify as K-pop artists targeting global markets—with divergent formation paths and media receptions. Blackswan originated from the long-standing group Rania (debuted in 2011 under DR Music), which initially included several Korean members. After multiple member changes and rebrandings, including BP Rania, the group relaunched in 2020 as Blackswan with a fully non-Korean lineup. EXP Edition, by contrast, emerged from an academic project “I’m Making a Boy Band”, initiated by Bora Kim and colleagues at Columbia University in 2014. Initially conceptualized as a cultural critique, the group debuted in Korea in 2017 with four non-Korean members, embodying an experimental and outsider approach to K-pop.
Member information of two K-pop groups 2
Data collection
This study used a self-written Python script to collect data from YouTube and Reddit, key platforms for non-Korean users engaging with K-pop. The study gathered music video (MV) data for both groups, selecting the most viewed MVs and their corresponding user comments. As of November 2024, Blackswan's most viewed MV, “Karma,” had 9.45 million views and 60,882 comments, while EXP Edition's most viewed MV, “Feel Like This,” had 1.04 million views and 14,594 comments. Reddit data were drawn from K-pop-related subreddit such as r/kpop and r/kpopthoughts, focusing on the top three highly discussed threads. Duplicates, spam, and irrelevant entries were excluded and 798 pieces of data were collected. This data forms the study's corpus, providing insights into audience engagement.
Analysis strategy
This study uses Multimodal Critical Discourse Analysis (MCDA) to examine collected videos, images, and comment texts. MCDA views discourse as a key tool for constructing social realities and exposing ideologies (Fairclough, 2013; Machin, 2013). It transcends linguistic boundaries, integrating images, videos, and texts to provide a comprehensive understanding of discourse evolution (Kress and Leeuwen, 2020). However, as MCDA involves interpretive judgment, we mitigated subjectivity by cross-checking findings across multiple data sources and employing intercoder reliability testing.
Following Sommer and Bembnista's (2024) MCDA recommendations, the analysis was conducted in three steps: (1) the dataset was divided into textual, visual, and performative modalities; (2) open coding identified recurring identity negotiation markers, which were grouped into three dimensions (expression, practice, and value) through axial coding; and (3) selective coding integrated these dimensions to produce comparative patterns between Blackswan and EXP Edition.
To ensure reliability, two coders independently annotated 20% of the dataset (Cohen's k = 0.88), with disagreements resolved through consensus. Triangulation across textual, visual, and performative modalities further enhanced validity. Expert validation was also conducted by two scholars in K-pop and discourse analysis, who reviewed the coding manual and a 10% subsample of annotations, agreeing with 87% of the codes. Their feedback led to minor refinements in category definitions. Ethical considerations were addressed by anonymizing all comment texts.
Findings
This study analyzes the identity negotiation strategies of Blackswan and EXP Edition through three dimensions, expression, practice, and value derived from the interpretive analysis of global fan interactions, which align with the core logic of identity negotiation theory (Chatman et al., 2005; Downey et al., 2006; Kang and Bodenhausen, 2015; Riley, 2006; Sung, 2023) (Figure 1). Findings reveal distinct strategies: for expression, proficiency in Korean engages local audiences, while flexible language-switching appeals globally. In practice, aligning with Korean norms boosts credibility, while global aesthetics broaden appeal. Regarding values, adherence to Neo-Confucian ethics strengthens legitimacy in Korea, while character reinvention resonates internationally (Table 2). The finding reveals the complexities of identity negotiation in local/global K-pop.
Identity negotiation through three dimensions.
Identity negotiation for different audiences
Identity negotiation for Korean market
Navigating identity through language
The use of the Korean language is vital for K-pop idols’ authenticity, especially for non-Korean performers. Linguistic proficiency and pronunciation are key markers of legitimacy, while participation in Korean-language media helps negotiate their identity within the industry. Korean fans expect idols to demonstrate linguistic competence, signaling commitment to the K-pop system and fostering deeper engagement with domestic audiences.
Blackswan's members, despite their diverse backgrounds, make a concerted effort to sing in Korean. Comments on their MV Karma highlight their clear pronunciation, with fans praising their Korean skills: “They are all non-Korean, but their Korean is excellent” (uh7***, YouTube, 2023), and “Their pronunciation is better than most Korean girl groups” (de4***, YouTube, 2023). These remarks suggest that linguistic effort aids the acceptance of non-Korean idols. Beyond singing, they navigate Korean-language interactions on social media to shape perceptions of authenticity. Platforms like YouTube mediate this process, as audiences actively evaluate and negotiate idols’ cultural legitimacy through multilingual comments and affective exchanges. Thus, identity negotiation unfolds through performers’ efforts and also the dialogic participation of transnational audiences online.
In contrast, EXP Edition's Korean singing was criticized. One commenter noted, “It took my boyfriend a while to even comprehend what language they were singing” (Min***, YouTube, 2017), and another said, “You can’t be a K-pop idol group if you hardly speak Korean” (wil***, YouTube, 2017). This perceived lack of fluency undermined their authenticity as K-pop idols. Despite self-recorded vlogs, limited appearances on variety shows and industry platforms hindered their language-based identity negotiation and integration into K-pop. This contrast illustrates how language proficiency shapes whether non-Korean idols are accepted as legitimate participants in the industry.
Training regimes and trainees’ practices
The construction of a K-pop idol's image is deeply rooted in Korea's capitalist work ethic, emphasizing effort and discipline (Fuhr, 2016). This is evident in the rigorous training that shapes idols’ singing, dancing, rapping, and even facial expressions. Beyond technical skills, identity negotiation in K-pop involves adhering to structured trainee programs and ritualized fan engagement practices. The industry's training system refines idols’ skills and enforces strict performance aesthetics, with controlled facial expressions being crucial for an effortless, charismatic stage presence. On social media platforms, audiences interpret these performances through comments, reaction videos, and fan edits, transforming disciplined practices into sites of affective engagement and cross-cultural meaning-making.
Blackswan's members followed the conventional K-pop model under their company, DR Music's training, demonstrating synchronized choreography, vocal stability, and effective stage presence. In the Karma MV, close-up shots highlight their poised expressions and confident eye contact, reinforcing their idol-like presence. A Korean fan commented, “None of them are Korean, but they really capture the K-pop vibe…I feel proud” (ok4***, YouTube, 2023). According to the text, a core expectation in K-pop is years of intensive training, often starting in early teens, seen as essential for industry legitimacy. Blackswan's members followed this path despite being non-Korean. Leader Fatou shared the physical and psychological challenges of training: “You have to stay in position even if it hurts” (Yeung et al., 2023). Despite the strain, she expressed that “K-pop brings her the most joy” (Ku, 2023). Fans acknowledged their commitment, “If a group sings in Korean, promotes in Korea, and is managed by a Korean company, they’re K-pop” (No-***, Reddit, 2023).
In contrast, EXP Edition's performance lacked the discipline of mainstream K-pop. Their Feel Like This MV featured unsynchronized choreography and unpolished vocals, with one Reddit user commenting, “It looked too forced…probably just because they haven’t practiced enough” (got***, Reddit, 2020). Their facial expressions also appeared strained, contrasting with the effortless charm expected from K-pop idols. This deviation from performance aesthetics hindered their industry legitimacy. Fans criticized their lack of industry-standard training, “They don’t speak Korean, haven’t trained in the rigorous training system, and frankly don’t have stellar performance skills. Why even try to be K-pop? Why not just be a regular pop group?” (Pap***, Reddit, 2019). Their limited presence at key industry events further marginalized them.
Neo-Confucian values
K-pop's social structure is heavily influenced by Neo-Confucian values, particularly regarding hierarchy, age, and seniority 3 . These values shape relationships within idol groups and set expectations from industry professionals and fans. For non-Korean idols, integrating these values into their public personas is crucial for legitimacy, a process increasingly mediated by platforms where audiences evaluate and negotiate authenticity.
Blackswan has effectively adapted to K-pop's hierarchical norms by following practices of seniority and respect. The members use formal language and behavior, employing honorifics in interviews and when addressing one another, demonstrating an understanding of hierarchical relationships. This adherence extends to variety shows, where they maintain formal expressions with unfamiliar individuals. Their alignment with these cultural expectations has been well received, signaling their commitment to the industry's value system and reinforcing their legitimacy as K-pop artists. In addition to internal group dynamics, engaging with the broader K-pop industry in line with Neo-Confucian values is crucial for identity negotiation. Blackswan's CEO, Yoon Deung-ryong, emphasized that non-Korean members underwent a cultural adaptation process to align with industry norms, noting, “Many non-Korean trainees leave because they cannot adjust to Korean hierarchy, but Blackswan's members overcame this” (Yeung et al., 2023). This successful integration has led to greater acceptance within the Korean entertainment industry.
Comparatively, EXP Edition did not incorporate these hierarchical values into their identity. Their interactions, both among themselves and with industry professionals, followed a more egalitarian, Westernized approach. They addressed each other by first names without honorifics, which is uncommon in K-pop, where even same-group members typically maintain formal address (ARIRANG K-POP, 2017). This informality made them seem more like an American boy band than a traditional K-pop act, reinforcing their outsider status and complicating their legitimacy within the industry. EXP Edition's emphasis on individuality and artistic freedom, especially in songs like Feel Like This, contrasted with K-pop's values of discipline and hierarchy. A commenter noted, “Their song had too much of a ‘we are free, freedom’ vibe, which clashed with K-pop's culture. Remember to respectfully greet your sunbaes, even if they are younger…This is crucial in Korean culture” (dong***, YouTube, 2017). This tension between Western and Korean value systems created a disconnect between EXP Edition and K-pop's cultural expectations, complicating their position within the industry.
Identity negotiation for globalized industry
Flexibility and language-based connections
The global expansion of K-pop has made it necessary for international groups like Blackswan and EXP Edition to adopt flexible language-switching strategies to engage with diverse audiences. Language use in their music, performances, and fan interactions plays a crucial role in shaping their global identity and determining their level of success in different markets.
Linguistic flexibility is a key aspect of Blackswan's global engagement strategy. The group has performed in multiple languages, including Korean, English, and Indian languages, allowing them to connect with a diverse audience. Their Karma MV incorporated elements of Indian culture and languages, appealing to Indian fans. In interviews, they emphasized their collaboration with local filmmakers and cultural experts to ensure respectful and authentic portrayals, avoiding appropriation. This cultural sensitivity is evident in their use of Indian instruments and settings (Ngwe, 2023). Beyond music, Blackswan actively engages with international fans through multilingual social media interactions, fostering direct connections with various cultural communities. Fan comments reflect the impact of this approach, with one user stating, “The way they describe Indian culture makes my respect for them increase 100 times” (soh***, YouTube, 2023). Another fan expressed, “As a desi K-pop fan, you have no idea how happy I am. Finally, someone appreciates our culture instead of appropriating us” (ze5***, YouTube, 2023). These responses highlight how Blackswan's linguistic adaptability strengthens their cross-cultural engagement, while also revealing how audiences from different cultural contexts interpret and appropriate K-pop's hybrid identity in distinct ways.
EXP Edition struggled to use language effectively to connect with global fans. While they initially performed in English, their language strategy failed to bridge the gap between K-pop and Western audiences. Unlike Blackswan, who integrated multilingual elements to build cultural connections, EXP Edition relied mainly on English without incorporating cultural nuances that could make their performances more relatable to K-pop fans. Their limited use of Korean further hindered their engagement with Korean audiences and the broader K-pop industry. On social media, EXP Edition lacked a targeted linguistic strategy for deeper communication with international fans. Their failure to master Korean and engage authentically with Korean culture led to criticisms of them as cultural outsiders rather than “global idols” (Hahm, 2018). One critic noted, “EXP Edition's interactions felt ‘insensitive’ and disconnected from K-pop fandom expectations, which value linguistic and cultural fluency” (Carly, 2017). This lack of strategic language use weakened their ability to negotiate a global identity and establish credibility as a K-pop act.
Cultural appreciation and promotional strategies
An “imagined community” (Anderson, 1983; Hall, 2016) is constructed through representational strategies like narratives, symbols, and rituals that create shared experiences. In K-pop, MVs serve as crucial spaces for identity negotiation, where artists engage with cultural elements to communicate their global identities. A comparison of Blackswan's Karma and EXP Edition's Feel Like This highlights two distinct approaches: Blackswan integrates localized cultural elements while maintaining their K-pop identity, whereas EXP Edition adopts a more Westernized pop aesthetic, distancing themselves from their K-pop affiliation (Figure 2).
A comparison of screenshots from “Karma” and “Feel Like This” mvs 4 .
Blackswan's Karma strategically integrates cultural elements into its concept, visuals, and music, while maintaining K-pop aesthetics. The MV, filmed in Odisha, India, emphasizes cultural authenticity and appreciation through real-world settings, contrasting with the green-screen style of major K-pop productions. The members wear sari-inspired outfits, mangtikka jewelry, and use gulal (colored powder) as a ritual symbol. Indian instruments like the Veena and Tabla blend with the K-pop beat, creating sonic cohesion. The concept of Karma, rooted in Hindu philosophy, is reinterpreted as a bond between idols and global fans, reinforcing shared values. By balancing cultural specificity with K-pop's established aesthetics, Blackswan successfully negotiates a global identity within the K-pop framework. Blackswan further negotiates their global identity through localized promotional strategies. The members studied Indian culture before filming, with Sriya, the group's Indian member, saying, “We all sat together and started learning about Indian culture so that we don’t disrespect it” (Edwards, 2023). They collaborated with Indian filmmakers and local communities to ensure authenticity. Additionally, their multilingual social media outreach fosters a dynamic global fandom, strengthening their legitimacy within K-pop and broadening their international appeal. A viewer commented, “I’m a Korean-Australian…this MV shows cultural diversity and is inclusive with the Indian culture. I wish everyone saw this masterpiece and support Blackswan” (luc***, YouTube, 2023). Such reactions demonstrate how cross-cultural audiences recognize and celebrate the group's inclusive representation.
In comparison, Feel Like This by EXP Edition lacks cultural negotiation. The MV is set in generic Western urban landscapes, with casual fashion that aligns more with American pop than K-pop's stylized aesthetics. Unlike Karma, Feel Like This uses a universal global pop aesthetic, making it less connected to K-pop's conventions. The lack of recognizable K-pop elements, such as synchronized choreography and engagement with idol-fan dynamics, further distances EXP Edition from the genre's norms. Besides, EXP Edition also faced challenges in identity engagement beyond MVs. Their minimal presence in Korean music shows and variety programs hindered their recognition in the global K-pop ecosystem. Unlike Blackswan, who engaged with local cultural contexts and international fan communities, EXP Edition lacked targeted promotional strategies. Their failure to acknowledge K-pop's cultural foundations and the perception of Western privilege led to skepticism from Asian fan communities. As a result, they were often viewed as foreign intruders rather than legitimate K-pop contributors (Liu, 2017).
Ethical values and gender roles
K-pop idols’ ethical values and public personas serve as key sites of global identity negotiation, reflecting broader cultural shifts in gender representation and individuality (Jonas, 2022; Primer, 2023). Both Blackswan and EXP Edition challenge traditional moral frameworks by reinventing gender roles and negotiating between K-pop ethics and global expectations of self-expression and autonomy.
Blackswan navigates gender norms by positioning themselves as confident, empowered women, breaking from the traditional femininity often seen in K-pop girl groups. In the Karma MV, they present bold, edgy fashion and project strength rather than the typical “cute” or “innocent” persona. This aligns with the global “cool girl” archetype, emphasizing independence over submissiveness. Fatou, the group's Senegalese member, exemplifies this shift through her powerful stage presence, rap performances, and assertive self-presentation. Blackswan's approach engages in a broader conversation on gender roles, appealing to international fans that prioritize gender equality and self-determination, while challenging patriarchal K-pop norms and rigid group-focused images.
EXP Edition negotiates their identity through an alternative redefinition of masculinity, adopting a rebellious, “bad guy” persona. Unlike traditional K-pop boy groups, which emphasize polished masculinity or controlled innocence, EXP Edition embraces a swaggering attitude reminiscent of Western anti-establishment archetypes (Kim et al., 2018). Their focus on individuality over group cohesion mirrors Western pop's emphasis on personal brand-building. This contrasts with K-pop's collective identity, where members conform to a curated group image. EXP Edition's defiance of industry norms appeals to international fans drawn to countercultural aesthetics. However, their divergence from K-pop's ethical expectations, where respect and humility are valued, has led to a more contested reception within the K-pop landscape.
Both Blackswan and EXP Edition challenge conventional K-pop moral frameworks through their reinventions of gender roles and ethical positioning. Blackswan fosters discussions on female empowerment, while EXP Edition redefines idol masculinity with a more individualistic, Westernized identity. These negotiations redefine the ethical values associated with global K-pop idols, bridging traditional industry standards with evolving global expectations.
Discussion and conclusion
Focusing on Blackswan and EXP Edition, this study rethinks the “K” of K-pop by examining how non-Korean groups negotiate identity. Blackswan's institutional training, cultural integration, and active fandom enabled legitimacy, while EXP Edition's experimental formation, limited integration, and weaker fan engagement constrained its authenticity.
Constructive strategies
The identity negotiation strategies of Blackswan and EXP Edition illustrate the expansion and contestation of K-pop's boundaries under globalization. Blackswan has engaged diverse fan communities, particularly in India, where Karma was praised for portraying Indian culture “without an overly dramatic Western view” and highlighting its traditional side (lol***, 2023; kpo***, 2023). Fans described Blackswan as “the only K-pop group that respects Indian culture and appreciates it” (pre***, 2023; Lum***, 2023), echoing Iwabuchi (2002,15) argument that Asian cultural subjects can challenge the “exclusive equation of modernity” in Western societies.
Fan responses from other regions also reveal varied receptions. Comments such as “Queen Fatou trying to keep her tough…personality is so emotional” (@giz***, YouTube, 2024, from Trinidad and Tobago), “Love this Girls…from Brazil” (@let***, YouTube, 2025) suggest localized affective engagement across the Global South. Together with Blackswan's decision to film MVs in non-Western regions such as West Africa and Brazil, these reactions underscore a global strategy.
EXP Edition faced backlash for failing to engage with K-pop's cultural foundations and struggled with the “white racial frame” that positioned them as outsiders (Coates, 2017; Jackson, 1999). This led to resistance from Asian fans, with one stating, “I honestly felt that this (EXP) was an insult to culture” (tra***, 2023). By contrast, Blackswan's efforts to appeal to diverse non-Western groups aim to challenge Western dominance, offering diasporic fans a way to affirm their cultural identity (Her***, 2023; Lee, 2020). As one fan said, “By supporting Blackswan, we are helping break down racial taboos” (nic***, 2023).
Fan engagement serves as a site of identity negotiation. As Sriya stated, Blackswan is not known by skin color, age, or nationality but by the talent and uniqueness that unites people (Agarwal, 2022), echoing Appadurai (1996:8) concept of a “community of sentiment” and K-pop's cosmopolitan potential to contest Western-centered cultural frames (Humphreys, 2021).
Limited negotiation
Identity negotiation remains constrained by nationalist ideology. The experiences of non-Korean K-pop groups show that inclusion is possible only through internalizing Korean cultural norms. The idol system produces new forms of exclusion and “othering” (Fuhr, 2016:224). Functioning as a “Koreanizing machine,” the K-pop industry demands language proficiency and adherence to hierarchical norms, often marginalizing non-Korean idols (Littlejohn and Foss, 2008). This reflects the dominance of kungmin (nation) in Korean society (Cho, 2000) and contributes to the re-nationalization of transnational phenomena through non-Korean idols themselves (Lee, 2011:12).
Despite the visibility of multicultural stars, K-pop remains biased toward Asian phenotypes (Sung, 2010). Blackswan's peripheral position illustrates this contradiction. Despite international recognition, critics argue that many supporters are merely “token stans” engaging for symbolic diversity rather than music (lar***, 2024). Their limited commercial success suggests that “Korea isn’t interested in diversity at all unless it's other Asian faces” (pla***, 2022). Ethnicity continues to function as a key industry boundary, reinforcing internal hierarchies and exclusions (Hall, 2016:188).
Ultimately, the identity negotiation of non-Korean idols such as Blackswan remains constrained. Although they may be recognized as K-pop artists, they are denied full cultural or ethnic insider status, exemplifying Fuhr (2016:223) notion of “double othering” and existing as “marginalized cosmopolitans” (Park, 1999) situated between global pop culture and Korean nationalism. This limitation reflects a broader tension between K-pop's global ambitions and entrenched ethnic nationalism. While the industry appears more open to diversity, persistent barriers for non-Asian idols raise unresolved questions about whether K-pop can sustain global expansion without fundamentally reconfiguring its nationalist identity politics.
Implications and limitations
This study firstly contributes to the discourse on identity negotiation in transnational pop culture. Second, it highlights the bidirectional nature of identity negotiation, where idols balance conformity to Korean norms and global audience expectations (Jin and Ryoo, 2012; Kim, 2021b). Third, by applying MCDA, it provides empirical validation of identity construction through visual, linguistic, and performative elements. Finally, the findings emphasize that identity is dynamic, shaped by cross-cultural interactions, industry structures, and audience reception, while also challenging assumptions about globalized pop culture fostering inclusivity (Iwabuchi, 2002).
In addition, this study proposes a new conceptual framework: the global trajectories of non-Korean K-pop groups emerge from the interplay of macro-level national forces, meso-level dynamics of global popular music and cultural hybridity, and micro-level practices of transnational fandom. This multi-layered framework offers an innovative lens for understanding cultural hybridity in K-pop and beyond.
We offer practical insights for agencies navigating K-pop's globalization. The contrast between two groups shows that linguistic and cultural adaptability is key for non-Korean idols seeking legitimacy. It also highlights the limits imposed by identity discipline and nationalist ideologies, shaping how foreign idols negotiate their place in the industry.
This study has several limitations. It focuses on only two groups and uses YouTube and Reddit data, which may not represent all fans or perspectives. Online discourse can reflect idealized, loyalty-driven views. As K-pop evolves, findings may shift, highlighting the need for broader samples and multi-platform fan analyses.
Footnotes
Funding
The authors received no financial support for the research, authorship, and/or publication of this article.