This study re-examines the history of K-pop from the audience’s perspective, focusing on the fandom activism of K-pop fans. This study differentiates itself from existing historical accounts of K-pop, which have been primarily framed through industrial or policy-oriented perspectives. It aims to re-evaluate audiences as active agents in the production of K-pop culture, illustrate the interrelationship between the global and local, and assess the cultural and political potential of K-pop fandom.This study applies the concepts of locality and translocality to trace the evolution of K-pop fandom activism across three historical phases. The first phase corresponds to the formative stage of locality in the mid-to-late 1990s, the second represents the consolidating stage of locality from the late 1990s to the early 2010s, and the third marks the transition toward translocality from the mid-2010s to the present.Through this analysis, the study identifies several key findings. Fandom has increasingly emerged as a central agent in the formation of K-pop culture. The formation and circulation of K-pop fandom activism demonstrate the reciprocal interpenetration between the global and the local. Furthermore, K-pop culture is becoming a means of reconfiguring global cultural power relationships. These findings suggest that K-culture constitutes a networked space characterized by ongoing hybridity and transversal movement and holds the potential for transnational solidarity oriented toward translocality.