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Abstract

This study examines the boycott by Indonesian fans against the K-pop group ATEEZ as part of the dynamics of South Korea’s cultural diplomacy in Southeast Asia. Building on the understanding of K-pop as an important instrument of soft power in South Korea’s cultural diplomacy strategy, this research highlights how regional audiences do not always passively accept such practices. Using a qualitative approach with digital discourse analysis, the study analyzes boycott-related discourses circulating on social media and in online news coverage to explore the narratives, meanings, and cultural implications of this action. The fan boycott is not merely an expression of emotional disappointment, but a form of fan activism constructed through narratives of fan contribution, regional inequality, and demands for symbolic recognition. Through digital media, Indonesian fans position themselves as non-state actors with agency in negotiating cultural relations with the K-pop industry. These findings reveal the limitations of cultural diplomacy that relies solely on global market logic and underscore that the effectiveness of soft power depends on the quality of fair and inclusive relationships with regional audiences. This study is expected to contribute to the field of cultural diplomacy by positioning Southeast Asian audiences as active subjects in the negotiation of soft power through popular culture.

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Bahasa Abstract

Penelitian ini mengkaji fenomena boikot penggemar Indonesia terhadap grup K-Pop ATEEZ sebagai bagian dari dinamika diplomasi budaya Korea Selatan di Asia Tenggara. Berangkat dari pemahaman bahwa K-Pop merupakan instrumen soft power yang penting dalam strategi diplomasi budaya Korea Selatan, penelitian ini menyoroti bagaimana audiens regional tidak selalu menerima praktik tersebut secara pasif. Melalui pendekatan kualitatif dengan analisis wacana digital, penelitian ini menganalisis diskursus boikot yang berkembang di media sosial serta pemberitaan daring untuk memahami narasi, makna, dan implikasi kultural dari aksi tersebut. Boikot penggemar tidak sekadar merupakan luapan kekecewaan emosional, melainkan bentuk fan activism yang dibangun melalui narasi kontribusi, ketidakadilan regional, dan tuntutan pengakuan simbolik. Melalui media digital, penggemar Indonesia memosisikan diri sebagai aktor non-negara yang memiliki agensi dalam menegosiasikan relasi kultural dengan industri K-Pop. Temuan ini mengungkap keterbatasan diplomasi budaya yang bertumpu pada logika pasar global semata, serta menegaskan bahwa keberhasilan soft power bergantung pada kualitas relasi yang adil dan inklusif dengan audiens regional. Penelitian ini diharapkan dapat berkontribusi pada kajian diplomasi budaya dengan menempatkan audiens Asia Tenggara sebagai subjek aktif dalam proses negosiasi soft power melalui budaya populer.

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