Where the Fans Lead: The Grassroots Power of K-Pop Cupsleeve Events in Malaysia

Where the Fans Lead: The Grassroots Power of K-Pop Cupsleeve Events in Malaysia | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Research Article Where the Fans Lead: The Grassroots Power of K-Pop Cupsleeve Events in Malaysia Sharifah Faizah Syed Mohammed, Amirah Zahidah binti Shafi’e This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-7683576/v1 This work is licensed under a CC BY 4.0 License Status: Posted Version 1 posted You are reading this latest preprint version Abstract This study examines the organizational mechanisms and motivational dynamics of K-pop cupsleeve events in Kuala Lumpur, Malaysia—grassroots fan gatherings celebrating idols' milestones. Through qualitative case studies of six events (Oct 2024–Jan 2025), we address how fans construct a robust 'affective infrastructure' that supports both community and commerce. Findings reveal that Malaysian fans operate as logistical producers, coordinating complex workflows via volunteer teams, donation-based funding models, and café partnerships. Events strategically adapt Korean models to local norms: muslim friendly or halal venues, bilingual signage, and extended durations (e.g., month-long pop-ups) accommodate working adults and families. Crucially, these events generate emotional communities (e.g., collective catharsis during military enlistments) and foster informal economies, with café partners and fan artists report significant benefits to patronage and sales. The study redefines offline fandom as a form of grassroots, glocalized affective infrastructure, demonstrating how Southeast Asian fans engineer ecosystems of belonging and resilience. Implications urge cultural policymakers to recognize and support fan initiatives as valuable creative micro-economies. K-pop fandom participatory culture glocalization affective labor grassroots economy Malaysia 1.0 Introduction The global ascent of K-Pop, underscored by an events market valued at $ 8.9 billion, is a phenomenon sustained not merely by corporate strategy but by the immense, often invisible, labor of its global fanbase. While scholarly attention has extensively chronicled digital fan practices—from social media activism and streaming to online community formation (Jung, 2020 ; Oh, 2019 )—a significant blind spot remains in understanding the material, offline infrastructures built by fans themselves, particularly in non- Western contexts. This study shifts the focus from the digital screen to the physical space, examining the organizational logic and cultural significance of K-Pop cupsleeve events in Kuala Lumpur, Malaysia. As grassroots gatherings celebrating idols' milestones, these events represent a critical nexus of participatory culture, glocalization, and informal economy that has been largely overlooked, particularly within the Southeast Asian context. Existing research on fandom often bifurcates into studies of online engagement or large-scale, commercialized offline events like concerts (Oh, 2019 ; Lie, 2015 ). This study addresses a theoretical gap in fandom studies by integrating theories of participatory culture (Jenkins, 2006 ), glocalization (Robertson, 1995 ), and affective labor (Hardt & Negri, 2004 ; Duffett, 2013 ) to reframe offline fandom as 'affective infrastructure'. It does this by empirically examining three underexplored areas: the material organization of fan labor, fan-driven glocalization strategies, and the socioeconomic networks this labor sustains. Within the multicultural settings like Malaysia, the socioeconomic impacts generated by these informal economies induces our understanding of fandom as a potent force in shaping local cultural economies. This research aims to mitigates these deficiencies by: Systematising participation: Charting the sequential coordination of cupsleeve events (e.g., budgeting, vendor collaboration) to elucidate the tangible reality of fan work. Localizing fan culture: Examining the adaptation of K-pop rituals by Malaysian fans to align with local customs (e.g., venue selection in Kuala Lumpur/Selangor, adherence to halal standards). Expanding motivational frameworks: Illustrating the intersection of social identification and glocalisation (Robertson, 1995 ) in offline fan practices. Documenting informal economies: Emphasizing the economic contributions of fan organizers, cafés, and vendors—a crucial element in K-pop’s worldwide supply chain. Consequently, this study argues that these events represent the construction of a sophisticated 'affective infrastructure"—a form of grassroots cultural engineering where fans build ecosystems that provide material, emotional, and economic support for the local community." This study aims to address these critical gaps by posing three research questions: How are K-Pop cupsleeve events organized in Malaysia? What motivates fan participation, and how do these events reflect processes of glocalization? What socio-cultural and economic benefits do they generate for local communities? 2.0 Literature Review 2.1 The Cupsleeve Event: A Primer in Grassroots Cultural Production Cupsleeve events are fan-organized celebrations held in cafés to commemorate milestones of K-Pop idols, such as birthdays or album releases. Global fans have adapted this ritual, which originated in South Korea, into localized meetups. Central to these events is the custom-designed cupsleeve—a decorative paper sleeve adorned with the idol's imagery, which attendees receive with their beverage purchase. However, these gatherings constitute far more than the distribution of complimentary accessories; they are defined by a set of core organizing principles. Fundamentally fan-initiated and community-driven, they are typically orchestrated by fanbases operating independently of corporate sponsorship. They meticulously craft themed experiences through curated decorations, freebies such as photocards, and activities aligned with the idol's brand identity. A critical function is their facilitation of social bonding and a powerful sense of communal belonging among participants. Furthermore, they operate with a distinct economic hybridity, frequently partnering with cafés for mutual benefit while existing within a gray market of unofficial merchandise. It is vital to distinguish these grassroots events from formal promotional campaigns or purely commercial activities, highlighting their focus on community, offline celebration and tribute to idols. These are not officially sanctioned promotional events involving artists, merchandise-centered pop-ups focused on sales, digital celebrations, random dance play events, or solely charitable events, although they may include donation aspects. This distinction positions cupsleeve events as a unique occurrence centered on collective offline celebration and honoring idols. It is essential to differentiate these grassroots events from formal promotional initiatives or solely commercial endeavors, emphasizing their distinct emphasis on communal, offline celebration and homage to idols. These are not sanctioned promotional events with artist involvement, merchandise-centric pop-ups where sales are the primary goal, digital celebrations, random dance play events, or purely charitable initiatives (though they may incorporate donation elements). This delineation highlights cupsleeve events as a unique phenomenon centered on collective, offline celebration and idol tribute. 2.2 Situating Offline Fan Labor in Participatory and Glocalized Culture The global expansion of K-Pop is often framed as a digital phenomenon, with scholarship rightly focused on online practices like social media activism, streaming, and virtual community formation (Jung, 2020 ; Oh, 2019 ). Within this domain, Henry Jenkins' (2006) concept of participatory culture has been a foundational framework for understanding fans as active producers and distributors of meaning. However, this lens has been predominantly applied to digital content creation, inadvertently creating a conceptual blind spot that privileges the online realm and overlooks the material, logistical, and embodied forms of participation that constitute offline fan labor (Baym, 2018 ; Kim, 2022 ). Concurrently, research on offline K-Pop fandom has predominantly centered on large-scale, commercialized events like concerts and official fan meetings (Lie, 2015 ; Oh, 2019 ), or on subcultural expressions like dance covers and cosplay (Lamarre, 2009 ). This focus marginalizes small-scale, community-driven gatherings, which are often dismissed as "niche" or relegated to anecdotal evidence (Geronimo, 2023 ). Consequently, the organizational mechanics of these events—how they are planned, funded, and executed—remain almost entirely untheorized, particularly in non-Western contexts. The fan organizers who coordinate these complex workflows function as de facto cultural producers and logistical entrepreneurs, yet their labor is absent from academic and policy discourses on the creative industries. 2.3 Glocalization and Motivational Nuance in Non-Western Contexts The adaptation of global K-Pop practices in local contexts is a process of glocalization (Robertson, 1995 ). While often applied to corporate strategy, this theory is vital for analyzing how fan communities indigenize cultural imports. In multicultural Malaysia, this involves navigating linguistic diversity, religious norms such as halal compliance, and local urban rhythms. Yet, the specific mechanisms of this fan-driven glocalization remain unexamined. Furthermore, prevailing theories of fan motivation, rooted in Social Identity Theory (Tajfel & Turner, 1979 ) and psychological models of affiliation (Duffett, 2013 ), have been largely developed and tested in Western contexts. Their applicability to the complex identity negotiations of Malaysian fans—who seamlessly blend global K-pop fandom with local cultural identities, as exemplified by halal-friendly events and bilingual signage—is untested and potentially limited. This oversight means research overlooks the specific motives and cultural hybridity that define participation in regions like Southeast Asia. 2.4 The Under-Theorized "Gray Market" and Economic Hybridity The economic dimension of fan labor constitutes a significant third gap. While the "gray market" of unofficial merchandise is well-documented in adjacent fandoms like anime and comics (Lee, 2009 ; Moore, 2011 ), its operation within K-Pop—specifically in the context of fan event vending—is severely understudied. The economic hybridity and symbiosis between fan organizers, local cafés, and small-scale artists represent a tangible, yet informal, creative micro-economy that sustains the fandom ecosystem (Choi & Burnham, 2021 ). This gap obscures the full material impact of fan activities, reducing them to leisure and ignoring their role as engines of affective labor (Hardt & Negri, 2004 ) that generates both social and capital value. The relationship between this affective labor and its conversion into concrete economic networks in metropolitan Malaysia has yet to be investigated. This study integrates these three theoretical strands—participatory culture, glocalization, and affective labor—to reframe offline fandom. We argue that cupsleeve events are not merely celebrations but are complex sites of glocalized cultural production where fans act as logistical entrepreneurs building affective infrastructure. This framework allows us to address the critical gaps identified above: the material organization of participatory culture, the localizing strategies of Malaysian fans, and the socioeconomic networks that this labor sustains. This affective labor, when combined with the logistical prowess of participatory culture and the adaptive strategies of glocalization, forms the foundation of what we conceptualize as the affective infrastructure of offline fandom. By doing so, this research moves beyond abstract celebrations of fan-led initiatives to systematically examine the organizational mechanics that actualize participatory culture in a non-Western context. 3.0 Methodology To investigate the components and functions of this fan-built affective infrastructure, this study employed a qualitative case study approach (Stake, 1995 ) to examine the organizational mechanisms and experiential dimensions of K-pop cupsleeve events in Malaysia. The design focused on participant observation (DeWalt & DeWalt, 2011 ) to document real-time fan behaviors and motives. In strict adherence to ethical research protocols and to safeguard the anonymity of all participants and associated entities, all identifying details within the presented case studies have been anonymized. This involved replacing café names with descriptive pseudonyms (e.g., “Cafe Vista,” “Fan Hub A”). Similarly, specific, creative titles conceived by fan organizers were substituted with generic descriptive titles that preserve the core celebratory context (e.g., “Jimin’s Birthday Celebration”). This methodological approach is designed to retain the contextual data imperative for analyzing glocalization, accessibility, and economic hybridity—such as a venue’s halal certification or proximity to public transit—while rigorously protecting the privacy of the involved businesses and individuals, thereby upholding our ethical commitments. 3.1. Research Setting and Case Selection This study employed a purposive sampling strategy to select six cupsleeve events across Kuala Lumpur and Selangor between October 2024 and January 2025. Case selection was designed to ensure representation across several critical variables, including: diversity of artists celebrated (BTS [3], ENHYPEN [1], EXO [1], and BLACKPINK [1]); event scale (with attendance figures ranging from 80 to over 300, and duration from a single day to one month); and venue type, with a priority given to Muslim-friendly or Halal-certified cafés located near public transit hubs. Further selection criteria prioritized events that demonstrated a documented community impact on social media platforms, evidence of cross-generational attendance, and the incorporation of distinct Malaysian cultural elements. Participant observation was conducted across all six events, totaling 42 hours. Adopting an "observer-as-participant" role (Gold, 1958 ), the researcher engaged in event activities while systematically documenting: (1) logistical processes, including setup workflows, vendor interactions, and budgeting—with insights on these topics gleaned from organizers’ direct explanations to volunteers and attendees; (2) fan behaviors, such as trading rituals, emotional exchanges, and temporal adaptations; and (3) markers of glocalization, including bilingual signage, halal compliance, and local partnerships. Field notes were structured using templates adapted from Emerson et al. ( 2011 ) to track dimensions of organization (e.g., volunteer roles, timeline adherence), adaptation (e.g., localized decor, multilingual use), and interaction (e.g., trading patterns, communal activities). Data on organizational mechanics—such as event conceptualization, budgeting, and the challenges of vendor negotiations—were gathered organically through direct observation and from organizers explaining these processes to participants during the events. This offered comprehensive, real-time insight into the logistical work required without necessitating formal interviews.Ultimately, the study of 84 event artifacts—including giveaways (e.g., photocards, cupsleeves), promotional materials from Instagram and X, and budget spreadsheets outlining donation kit distributions—facilitated triangulation and enhanced the dataset. A hybrid theme analysis method (Fereday & Muir-Cochrane, 2006 ) was utilized to analyze the complex qualitative data. The iterative process commenced with inductive open coding of all field notes and artifact documentation with NVivo 14 software. Initial codes emerged organically from participant narratives and observational patterns (e.g., "donation kit management," "halal venue negotiation," "generational bonding"). Through constant comparative analysis, these codes were refined into broader categories such as "logistical labor," "cultural hybridity," and "affective economies." Concurrently, a deductive analytical lens was applied using the study’s theoretical frameworks: Jenkins’ ( 2006 ) participatory culture concepts guided examination of fan production roles; Robertson’s ( 1995 ) glocalization theory structured analysis of localization practices (e.g., bilingual freebies); and Duffett’s ( 2013 ) affective labor theory informed assessment of economic behaviors. Validation sessions with three event organizers affirmed interpretative precision and evaluated emergent themes against contradictory data. Final thematic mapping distilled four pillars of Malaysian cupsleeve culture from the cross-case synthesis. 3.2 Contextual Data Collection Prior to and throughout the period of formal data collection, sustained digital ethnography was conducted to map the scope and scale of the cupsleeve event phenomenon within the Klang Valley. This contextual analysis was essential to establish the research environment and substantiate claims about the prevalence of these grassroots gatherings. The primary source for this mapping was the Instagram account @cupsleeveMY, a central community hub and aggregator for event announcements within Malaysia. This account functions as a de facto public archive for the scene. To generate a defensible estimate of annual event frequency, a snapshot analysis was performed on the account's posts for a representative one-month period (May 1–May 31, 2024). During this window, the account posted promotional flyers for 32 distinct cupsleeve events scheduled within the Klang Valley. This monthly figure, which aligns with the researcher's sustained observational data throughout the study period, indicates a highly active and continuous event circuit. When projected across a full calendar year—accounting for known fluctuations in activity around major idol milestones (e.g., birthdays, debut anniversaries)—the scale of activity easily numbers in the hundreds of annual events. Journalistic reports further confirm that similar Southeast Asian fan markets organize hundreds of events every year (Geronimo, 2023 ). This contextual data confirms Kuala Lumpur and the Klang Valley as a prolific site for grassroots fan labor and justifies its selection as a rich site for this case study. 4.0 Results and Discussion We conducted detailed case studies of six representative gatherings to examine the organizational structures, localized adaptations, and experiential dimensions of Malaysian cupsleeve events. To uphold ethical research standards and protect participant and venue privacy, all event names, café identifiers, and specific locations discussed in the following case studies have been anonymized. 4.1.1 Case Study 1: JIMIN’S BIRTHDAY CELEBRATION (Fan Hub A) This event was held at Fan Hub A, a popular, halal-certified venue in a well-known entertainment district of Kuala Lumpur, chosen for its reputation as a family-friendly K-Pop fan space. This birthday celebration was distinguished by its sophisticated curation of atmosphere and its striking demographic diversity, challenging narrow conceptions of K-Pop fandom. The event’s emotional core was a live violin performance that reinterpreted BTS songs like "Blood Sweat & Tears" and "Spring Day," adding a sombre and reflective mood that is uncommon at small-scale cupsleeve events. This use of classical instrumentation, typically reserved for large conventions, elevated the experience and created a profound sense of shared reverence among attendees. This strategic choice aligns with the assertion that emotionally charged elements like live music intensify fan engagement and forge unforgettable communal moments. Beyond the sonic landscape, the event showcased remarkable generational diversity (Mohammed et al. 2025). Attendees ranged from teenagers and young adults to working professionals and parents with children, illustrating the multi-generational appeal of the artist. A particularly memorable scene involved a father actively assisting his young daughter at the photo booth while simultaneously engaging in conversation with other fans—a vignette that challenges the persistent stereotype that K-Pop fan events are exclusively for the youth. This observed inclusivity reflects that the artist's lyrical themes of self-love, emotional resilience, and vulnerability possess a unique capacity to resonate across age groups. Ultimately, the event served as a powerful demonstration that this fandom is not a niche, age-limited community but a diverse and expanding social ecosystem. 4.1.2 Case Study 2 : ENHYPEN’s 4th ANNIVERSARY EVENT (Cafe Vista) Held at Cafe Vista, a modern dessert cafe located within a large, transit-connected shopping mall in Kuala Lumpur, this event celebrated the group's anniversary. The venue was selected for its central location, accessibility via public transit, and halal compliance. The anniversary event was a masterclass in organized, fan-driven participation, characterized by a calm and respectful atmosphere that defied expectations for a group with a younger demographic. The event’s communal spirit was epitomized by participatory fan interaction, where attendees voluntarily contributed a wealth of personalized freebies, including slogan banners, digital art prints, and handmade bookmarks. These unprompted contributions, which significantly enriched the event's décor and gift economy, reflect what Seo ( 2021 ) terms "participatory fan energy," demonstrating how fans actively create and share original content to enhance the collective experience. This deep engagement was further channeled through interactive fan games, including a detailed quiz and giveaway session based on the members’ personalities, birthdays, and personal quotes. The high degree of accuracy and enthusiastic participation revealed a profound level of fan literacy, tested deep knowledge of the group's history and lyrics reflecting in a strong emotional bond (Zhao, 2022 ). Despite the potential for high energy, the event atmosphere remained notably calm, polite, and organized. Fans queued orderly for freebies and photo booths with minimal supervision, exhibiting a considerate and respectful demeanor. This observed conduct aligns with Choi & Burnham’s ( 2021 ) concept that internalized group norms guide behavior at fan events; in this case, fans appeared to mirror the values of unity, kindness, and consideration often associated with their idols, transforming the space into a self-regulating community. 4.1.3 Case Study 3 : CHANYEOL’S BIRTHDAY EVENT (Cafe Lumina) This event took place at Cafe Lumina, a boutique café situated in a large Kuala Lumpur mall, known for hosting creative community events. In addition to traditional activities like cake-cutting and a photo zone, the event featured a remarkable exhibition of small instrument replicas made by fans and organized storytelling sessions. The celebration included artistic decorations created by fans, showcasing detailed miniature replicas of the idol's guitar and amplifier. These handmade pieces, described by Seo ( 2021 ) as "customized cultural texts," expressed a shared respect for the artist's work and established a warm, personalized atmosphere. The storytelling sessions allowed fans to share personal stories about how the artist's music impacted their lives, transforming the event into a space for collective support and sharing. The sense of closeness grew during fan-led discussion groups, where participants openly shared personal experiences of how the artist's music provided comfort in tough times. This study describes these open stories as "fandom testimony," turning the gathering into a safe and compassionate space for shared vulnerability and healing. The event had considerable cross-generational appeal, drawing both seasoned enthusiasts and a fresh influx of younger fans—a phenomenon corroborated by Choi & Burnham’s ( 2021 ) study on the internet resurgence of older K-pop artists. Throughout, fan behavior exemplified a strong community ethic; attendees cooperated peacefully, adhered to guidelines, and some even assisted in post-event cleanup. This conduct reflects Oh’s ( 2019 ) assertion that fandom can operate as a moral community, where fans mirror the respectful and humble values they associate with their idol. 4.1.4 Case Study 4 : JIN’S BIRTHDAY CELEBRATION (Fan Hub A) Hosted again at Fan Hub A, this event celebrated the birthday of the artist during his military enlistment. This celebration was characterized by a unique blend of cheerful aesthetics and reflective emotion, showcasing the multifaceted nature of fan engagement. The event’s bright and youthful concept design was directly inspired by the artist's first solo album ‘HAPPY’ and his astronaut-themed solo song. Decor elements meticulously incorporated the album’s three main colours (red, green, blue) and featured ‘Wootteo,’ the official astronaut character. This practice reflects the role of fans as “cultural translators” (Lee & Nornes, 2020), who adeptly reframe an idol’s core artistic concepts into locally meaningful and visually cohesive event experiences. Due in large part to the artist's impending military enrollment, the emotional ambiance skewed toward introspection and nostalgia despite the colorful décor. Guests participated in a key activity by writing and pinning heartfelt handwritten notes of support and appreciation on a shared wall. This collective documentation helps fans maintain a shared emotional history, a concept De Kosnik ( 2021 ) refers to as the "archival effect." The event further enriched its multisensory environment by including multimedia content, such as live screenings of the artist's solo performances and fan-recorded messages. This hybrid approach, combining digital and physical participation, reinforces Abidin's (2020) characterization of fans as digital content creators, generating emotionally resonant media and complex interactive experiences. Fans could interact meaningfully with their shared feelings of anticipation and absence through this method. One important observation was the high gender diversity among attendees, with about 25% being men, including couples and individual fans, who actively engaged in swapping photocards, selling albums, and participating in photo zone activities. This marked a significant shift from the typically female-centered audience at Malaysian BTS events and suggests changing gender dynamics within K-pop fandoms, indicating that the artist's message of healthy masculinity and emotional openness resonates with both men and women. 4.1.5 Case Study 5 : SEUNGKWAN’S BIRTHDAY EVENT (Cafe Vista) This event, which was held at Café Vista, focused on inclusivity for artists and community support. It included vendor booths where local artists sold their work and a prominent fan art show. The focus on inclusive community engagement and the encouragement of a local creative economy made this birthday celebration at Cafe Vista stand out. A musical ticket giveaway, a lucky draw, a photo area, and vendor stalls were among the events planned to create a fun and interactive atmosphere. Importantly, the event went beyond the attention of individual members. It welcomed both his devoted admirers and OT13 (all 13 members) SEVENTEEN supporters with ease while honoring the artist. Participants were noted to be discussing the group's broader dynamics and collaboration, openly contesting the prevalent belief that individual member events create divisions within the fandom. This indicates a wider trend in K-pop, wherein fans, particularly in groups characterized by robust friendship, are progressively endorsing many members together. A defining feature was the fan art exhibition. Local artists displayed and sold their work—including prints, stickers, and handmade crafts—at accessible price points from vendor booths, turning their passion into a modest source of income. This creative output was deeply integrated into the event’s décor, enhancing its visual appeal and transforming the space into a micro-platform for artistic expression. This practice reinforces the concept of “participatory fan enrichment” (Jenkins ,2006), where fan-made content significantly deepens the community's emotional and cultural connection to the idol’s narrative while sustaining an informal creative economy. 4.1.6 Case Study 6 : BLACKPINK’S GROUP ANNIVERSARY EVENT (City Blend Cafe) This event was held at City Blend Cafe, located in a populous suburban community in Selangor, and was distinct for its extended duration. This group anniversary event at City Blend Cafe was strategically distinct for its innovative temporal model and its precise targeting of a specific demographic. Unlike the typical single-day or weekend-long cupsleeve format, this event ran for the entire month, a rare and pragmatic adaptation. The extended duration allowed for the cost-effective reuse of decorations and freebies, significantly reducing the financial burden on organizers while maximizing the return on investment for the café. The event’s activities, including freebies claims and a dedicated photo zone, were designed for sustained engagement. The venue selection was a critical component of this strategy. City Blend Cafe is situated within a populous suburban community characterized by a high concentration of families, working professionals, and retirees. Crucially, the café’s daily operating schedule, which includes weekdays, explicitly accommodated the routines of this target demographic. This strategic scheduling afforded working adult fans the flexibility to participate outside standard office hours—a key logistical advantage that conventional weekend-only events fail to provide. This sophisticated approach to spatio-temporal organization demonstrates a keen, practical application of glocalization, wherein the global K-pop event model is fundamentally restructured to align with the specific rhythms of a Malaysian suburban context. This resulted in a notably high turnout from professionals aged 30 to 50, showing how local organizers use their knowledge to promote inclusivity and sustainability. Table 1 outlines the main characteristics of these events. Table 1 Case Study Summary of K-Pop Cupsleeve Events in Kuala Lumpur | Our analysis distilled four central themes from the case studies: temporal-spatial innovation, economic hybridity, demographic expansion, and emotional community-building—all underpinned by significant resourcefulness and cultural adaptation. These findings compel a re-conceptualization of offline fandom as a form of affective infrastructure, where fans engineer not merely celebrations, but entire ecosystems of belonging, resilience, and cultural reinvention Event Name / Venue Key Activities Organizational Highlights Glocal Adaptations Findings JIMIN’S BIRTHDAY CELEBRATION, Fan Hub A Freebies claim and exchanges Violin performance Group photos Coordinated live performer Designed for generational inclusivity Family-friendly scheduling Muslim-friendly café Generational diversity (incl. parents & kids) Emotional impact of live music ENHYPEN’s 4th Anniversary Event, Cafe Vista Vendor booths Fan quizzes Freebies art prints and bookmarks Collaborated with experienced team Curated quiz content Halal-certified venue Demonstrated high fan literacy Calm and organized atmosphere despite younger fanbase CHANYEOL’S BIRTHDAY EVENT, Cafe Lumina Cake cutting Lucky draw Photo zone Crafted miniature instrument replicas Curated emotional storytelling Bilingual signage Facilitated profound emotional storytelling among fans JIN’S BIRTHDAY CELEBRATION, Fan Hub A Photocard trading "Happy Album" sales Video messages Collected multimedia content Targeted male-inclusive marketing Themed desserts matching album colors Notable 25% male attendance Strong nostalgic and multimedia engagement SEUNGKWAN’S BIRTHDAY EVENT, Cafe Vista Fan art exhibition Concert ticket giveaway Partnered with local artists Coordinated charity raffle Low-cost vendor fees for student artists Inclusive "OT13" participation Supported local artist economy BLACKPINK’S GROUP ANNIVERSARY EVENT, City Blend Cafe Month-long freebies Photo zone Reused decorations for cost efficiency Scheduled for working adults Month-long event format Catered to working adults (40% aged 30–50) Increase in café revenue Table 2 Grassroots logistical Entrepreneurship Phase Timeline Key Tasks Stakeholders Conceptualization 3–4 months pre-event Theme selection Budget planning Venue booking Lead organizer, finance team Design & Production 2 months pre-event Poster/cupsleeve design Freebie creation Supplier coordination Graphic designer, vendors Promotion 1 month pre-event Social media teasers @cupsleeveMY tagging Café collabs Social media manager, café partners Execution Event day Setup (6–8 AM) Freebie distribution Activity hosting Volunteers, performers 4.2 Temporal-Spatial Innovation: Localizing Participation Malaysian organizers demonstrated remarkable ingenuity by radically adapting event formats to local socio-temporal realities. The month-long BLACKPINK celebration at City Blend Cafe, unlike the usual single-day events in Korea, catered to working adults' schedules, reduced costs through reusing decorations, and improved accessibility. Organizers improved Korea's one-day model to create lasting glocalized spaces that highlight accessibility over exclusivity. Similarly, BTS Jin's event featured fan-recorded video messages along with physical activities, blending digital and physical environments that Abidin ( 2020 ) associates with Gen Z fandom. Venue selections demonstrated cultural pragmatism: halal-certified cafés, such as Cafe Lumina, located near LRT stations (Light Rail Transit, a widely utilized and efficient public transportation system serving Kuala Lumpur and the surrounding Klang Valley), facilitated participation throughout Kuala Lumpur's dispersed urban environment. These alterations illustrate Robertson’s ( 1995 ) notion of glocalization, becoming the spatio-temporal basis of the affective infrastructure—global fan activities modified to correspond with Malaysian rhythms. The transformation of cupsleeve events into third spaces (Bhabha, 1994 ; Oldenburg, 2023 ) enables the collaborative development of novel cultural meanings and practices at the convergence of global fandom and Malaysian identity. 4.3 Beyond Digital Fandom: Embodied Labour Cupsleeve events exemplify embodied participatory culture, converting Malaysian fans from passive consumers into active makers of cultural infrastructure. This expands Jenkins' fundamental concept beyond digital domains, emphasizing the materiality of fan work. In contrast to exclusively online fandom, these assemblies need fans to adeptly navigate intricate logistical challenges: organizing volunteer groups, negotiating with cafés, creating goods, and overseeing funds using hybrid funding mechanisms such as donation kits. This effort, noted in all six events, reveals a paraprofessional organizational structure, a phenomena we designate as "grassroots logistical entrepreneurship." 4.4 Micro-Economies of Enthusiasm: Validating Fan Labor Economic Hybridity: Fan Entrepreneurship Emerges/Grassroots Cultural Entrepreneurship. Table 1 demonstrates a continuous pattern of economic interdependence, with events collaborating with local cafés in all instances and often including vendor booths (e.g., 'SEUNGKWAN’S BIRTHDAY EVENT,' 'ENHYPEN’s 4th Anniversary Event'), resulting in quantifiable revenue growth for companies. Fan labor transcended logistics, encompassing informal creative economies. During SEVENTEEN Seungkwan’s "SEUNGKWAN’S BIRTHDAY EVENT," local artisans marketed fan art prints and handcrafted keychains at vendor booths, yielding a substantial and lucrative income while simultaneously augmenting the décor—a phenomenon that Park (2021) describes as "participatory fan enrichment." Unprompted, fans at ENHYPEN’s event distributed self-made freebies (digital art, bookmarks), illustrating Duffett’s ( 2013 ) concept of affective labor as communal currency. Crucially, cafés like City Blend Cafe reported a major surge in customer traffic and a substantial revenue increase during month-long events, proving that fan initiatives drive tangible local business growth. These spaces sustain micro-economies of affective labor (Duffett, 2013 ), where fans monetize artistic skills while resisting commercial K-pop IP regimes. This ecosystem—where fan artists monetize skills, vendors access markets, and cafés gain patronage—exemplifies a glocalized micro-economy challenging top-down K-pop commerce. 4.4.1 Resourcefulness—Maximizing Limited Means Malaysian cup sleeve organizers demonstrate remarkable resourcefulness in overcoming financial and logistical constraints. In the absence of corporate sponsorship, teams depend on innovative, community-based funding sources, notably pre-sold 'donate kits.'These kits provide the exchange of fan-created luxury items (e.g., acrylic standees, holographic photocards) for essential initial funding, which finances venue rents and printing expenses while cultivating a robust sense of community ownership. Organizers strategically target accessible sites such as Fan Hub A, selected specifically for its proximity to LRT stations. This guarantees increased attendance throughout Kuala Lumpur's extensive urban area while reducing transportation obstacles for students and working-class supporters. Additional creativity is seen in vendor alliances, as fan artists share booth expenses (e.g., Seungkwan’s Birthday Event) and negotiate with local printers for bulk discounts—transforming constrained finances into engaging experiences. Fan organizers exhibited a developing professionalization via organized labor practices. As outlined in Table 2 , groups of 5–10 volunteers allocated responsibilities based on expertise, functioning within deadlines of 3–4 months—emulating professional event planning despite the absence of formal training. For example, ENHYPEN's "4th Anniversary Event" necessitated two months for the design of quiz content, the reservation of a halal-compliant café, and the sale of donation kits that financed 60% of the expenses. These behaviors demonstrate that participatory culture transcends digital production, manifesting in "embodied organizational labor," and is sustained by emotional investment rather than financial gain. This organizational capability, grounded on resourcefulness, enables organizers to optimize limited resources by utilizing new funding approaches and strategically selecting venues near public transit hubs to surmount financial and logistical challenges. This represents a unique method of engaging with materials and a careful reallocation of resources, deepening our understanding of how fans can shape their cultural context. 4.5 Redefining Fandom: Demographic Expansion and Emotional Communities This theme synthesizes two interrelated outcomes generated by the affective infrastructure: the subversion of demographic stereotypes and the formation of robust emotional support networks. 4.5.1 Demographic Expansion: Challenging the Homogenous Fan Archetype The data consistently disrupts the prevalent stereotype of K-Pop fandom as a homogenous, female-dominated youth culture (Oh, 2019 ). This expansion is a direct result of the glocalized strategies detailed in Section 4.2 . The intentional design of events for family-friendly inclusivity (e.g., Fan Hub A's environment), accessibility for working adults (e.g., City Blend Cafe's month-long schedule), and themes promoting emotional vulnerability (e.g., BTS's "Love Yourself" ethos) actively fostered cross-generational and cross-gender participation. This was evidenced by the significant presence of parents with children at BTS Jimin's event, the notable 25% male attendance—including couples and solo fans—at BTS Jin's event, and the 40% of attendees aged 30–50 at the BLACKPINK celebration. These patterns affirm that the affective infrastructure built by Malaysian fans functions as a cross-generational social space, where family units share cultural experiences, and where idols' narratives of emotional resilience resonate across gender lines, challenging homogenous portrayals of Asian fanbases. 4.5.2 Emotional Communities: Rituals of Shared Vulnerability and "Fandom Testimony" Beyond demographic metrics, the events facilitated deep emotional connections, evolving into what we term "fandom testimony" sites. This concept, extending De Kosnik's (2021) "archival effect," describes the therapeutic practice of processing personal life experiences through collective idol narratives. This was observed in the rituals of shared vulnerability that defined several events: the heartfelt letter-writing for BTS Jin during his military enlistment and the spontaneous personal storytelling about overcoming adversity through EXO Chanyeol's music. These acts transformed celebrations into spaces of collective catharsis and support , akin to informal support groups. Even activities like ENHYPEN's detailed quiz became rituals of belonging, demonstrating deep affective investment (Kim, 2022 ) that transcended trivia. This emotional labour, though economically unquantified, generates significant socio-emotional capital. This highlights the role of cupsleeve events as the psychological core of the affective infrastructure—safe havens for collective vulnerability where the embodied co-presence of fans facilitated by the offline infrastructure they built—enables a depth of connection difficult to achieve in digital spaces alone. 4.6 The Socio-Cultural and Economic Benefits of Cupsleeve Events This study's findings demonstrate that K-Pop cupsleeve events generate significant and multifaceted benefits for local Malaysian communities, which can be categorized as follows: 4.6.1 Socio-Cultural Benefits: Creation of Intergenerational and Inclusive Third Spaces: The events function as what Oldenburg ( 2023 ) terms "third places"—social surroundings separate from the two usual social environments of home and work. This is evidenced by the presence of families at BTS Jimin's event and the high attendance of working adults (aged 30–50) at the BLACKPINK event. By being intentionally family-friendly and scheduled outside standard work hours, these events become rare cultural spaces where different generations and demographics can commune. Formation of Emotional Support Networks: Beyond celebration, events become sites for "fandom testimony" and collective catharsis. The heartfelt letter-writing for BTS Jin and the personal storytelling at EXO Chanyeol's event transformed these gatherings into informal support groups. This provides a crucial socio-emotional function, offering a safe haven for shared vulnerability and mutual understanding that is often lacking in digital-only fan interactions. Cultural Glocalization and Identity Validation: The events validate the identity of Malaysian fans by allowing them to seamlessly blend their global fandom with local cultural identity. The mandatory halal certification, bilingual signage, and adaptation to local urban rhythms (e.g., month-long formats, LRT-accessible venues) are not just logistical choices but acts of cultural affirmation. They demonstrate that one can be a devout Muslim or a working professional and a fully participating member of a global fan community. 4.6.2. Economic Benefits: Direct Revenue Generation for Local Businesses: The most tangible economic impact is on partner cafés. As documented, venues like City Blend Cafe reported a 20–30% surge in revenue during events. This is driven by minimum spend requirements and increased customer traffic, providing a direct and significant financial boost to local SMEs. Support for a Local Creative Micro-Economy: The events provide a vital platform for local artists and vendors. At events like SEUNGKWAN'S BIRTHDAY EVENT, fan artists monetize their skills by selling prints, stickers, and handmade crafts. This creates an informal but profitable income stream for young creatives, effectively functioning as a micro-entrepreneurial incubator within the creative economy. The Development of Paraprofessional Skills: The complex logistical organization required (Table 2 ) means fan organizers develop and practice high-value skills in project management, budgeting, negotiation, marketing, and event planning. This constitutes an informal capacity-building ecosystem, equipping a predominantly young workforce with professional experience outside the traditional corporate structure. In summary, the socio-cultural benefit is the creation of an inclusive, supportive, and glocalized affective infrastructure. The economic benefit is the stimulation of a sustainable, fan-driven micro-economy that supports local businesses, artists, and skill development. These benefits compel a re-evaluation of such grassroots fan initiatives from mere leisure activities to valuable contributors to the local socio-economic fabric. 5.0 Conclusion & Policy Implications Malaysian cupsleeve events radically transform offline fandom into a labor-intensive affective infrastructure, positioning fans as community creators rather than passive consumers. This research, via empirical analysis of six case studies, illustrates how fans construct: Social infrastructure: Intergenerational spaces (e.g., families at BTS Jimin’s event) and emotional support networks via "fandom testimony" sessions (e.g., EXO Chanyeol’s storytelling circle). Economic drivers: Sustainable micro-entrepreneurship through vendor stalls, enabling fan artists to generate a meaningful income and significantly enhancing business and café collaborations.This challenges reductionist views of fandom as mere leisure (Hesmondhalgh, 2019 ), instead highlighting it as a valid component of the creative economy that warrants institutional recognition. Cultural ministries ought to implement three evidence-based policies to harness this potential: Implement Japan's dōjinshi model to provide fan-art licenses, thereby legitimizing minor sales of transformative items while honoring intellectual property rights. Finance grassroots activities via micro-grants, emphasizing events that integrate global and local cultures (e.g., K-pop/Malay artist hybrid events).To enhance accessibility for all, offer public venues like libraries and community halls as affordable spaces. Navigating the gray area requires proactive policy solutions to safeguard both intellectual property rights and significant fan culture. One suggestion involves agencies like the Korea Creative Content Agency (KOCCA) offering accessible "fan art licenses." Drawing from Japan's effective dōjinshi model, these licenses could allow limited, non-exclusive sales with set restrictions on quantity or profits, protecting small-scale fan artists legally. Additionally, targeted training on intellectual property is essential. Workshops could inform fan artists about navigating intellectual property constraints, providing strategies to avoid trademarked logos and official images while encouraging highly transformative designs, like unique chibi art styles or original compositions, that are more likely to fall under fair use. Establishing designated "IP sandbox" areas, like official "Fan Art Bazaars" at major cultural festivals or Hallyu events, could create spaces where the limited sale of transformative fan art is explicitly permitted and shielded from standard takedown requests, fostering creativity within a regulated framework. These layered solutions seek to validate fan enthusiasm while also respecting the critical business interests of rights holders. Homan ( 2014 ) asserts that intellectual property regulations must adapt to support participatory cultures. Incorporating these initiatives into Malaysia's Dasar Industri Kreatif Negara (National Creative Industry Policy) would elevate fan efforts from niche activities to established cultural infrastructure, strengthening soft power, youth involvement, and creative enterprise across the nation. This research has shown that the affective infrastructure is a significant grassroots resource that should be cultivated through policy. Declarations Author Contribution Author Contributions: Sharifah Faizah Syed Mohammed (Mohammed, S.F.S.) was responsible for the conceptualization of the research framework, methodology design, formal analysis, supervision, project administration, and the critical revision, editing, and finalization of the manuscript. Amirah Zahidah Shafi'e (Shafi'e, A.Z.) was responsible for data collection, investigation, transcription, data curation, and the writing of the initial draft. All authors have read and agreed to the published version of the manuscript. Acknowledgement The research was made possible through the HICoE KPT.BP(S).400-2/4/4 Jld.2(14) from the Ministry of Higher Education, Malaysia. We wish to thank Universiti Teknologi MARA (UiTM) for funding this publication. The reference for the ethics approval of this study is CCA/12/PKM/2024 (EXM11). References Abidin, C. (2020). Mapping Internet celebrity on TikTok: Exploring attention economies and visibility labours. Cultural Science Journal , 12 (1), 77–103. https://doi.org/10.5334/csci.140 Baym, N. K. (2018). Playing to the crowd: Musicians, audiences, and the intimate work of connection . New York University. Bhabha, H. K. (1994). The location of culture . Routledge. Choi, B., & Burnham, J. (2021). Fan economies and K-pop’s global market. Journal of Media Economics , 34 (2), 123–136. de Certeau, M. (1984). The practice of everyday life (S. Rendall, Trans) . University of California Press. De Kosnik, A. (2021). Rogue archives: Digital cultural memory and media fandom . MIT Press. DeWalt, K. M., & DeWalt, B. R. (2011). Participant observation: A guide for fieldworkers (2nd ed.). AltaMira. Duffett, M. (2013). Understanding fandom. Bloomsbury. Emerson, R. M., Fretz, R. I., & Shaw, L. L. (2011). Writing ethnographic fieldnotes (2nd ed.). University of Chicago Press. Fereday, J., & Muir-Cochrane, E. (2006). Demonstrating rigor using thematic analysis: A hybrid approach of inductive and deductive coding and theme development. International Journal of Qualitative Methods , 5 (1), 80–92. https://doi.org/10.1177/160940690600500107 Geronimo, M. (2023). At the party, cheers! Meet the fans behind your local K-pop cupsleeve events. Rappler. https://www.rappler.com/entertainment/korean-popular-music/things-to-know-filipino-fans-organize-kpop-cupsleeve-events/ Gold, R. L. (1958). Roles in sociological field observations. Social Forces , 36 (3), 217–223. https://doi.org/10.2307/2573808 Gwyn, R., & Nov (2023). 16, Fan café events: Where K-pop meets coffee. KpopMap. https://fan.kpopmap.com/fan-cafe-events-where-kpop-meets-coffee/ Retrieved Sept 17, 2025. Hardt, M., & Negri, A. (2004). Multitude: War and democracy in the age of empire . Penguin. Hesmondhalgh, D. (2019). The cultural industries (4th ed.). Sage. Homan, S. (2014). I toll the bell for you': Peter Gabriel, YouTube and the remix of fandom. Continuum , 28 (5), 620–632. https://doi.org/10.1080/10304312.2014.941336 Jenkins, H. (2006). Convergence culture: Where old and new media collide . New York University. Jung, S. (2020). K-pop in digital culture: Participation and production. Cultural Studies Review , 26 (1), 55–77. Kim, J. (2022). The work of affection: The materiality of fan labor in K-pop. Transformative Works and Cultures , 38 . https://doi.org/10.3983/twc.2022.2210 Lamarre, T. (2009). The anime machine: A media theory of animation . University of Minnesota Press. Lee, H. K. (2009). Between fan culture and copyright infringement: manga scanlation. Media Culture & Society , 31 (6), 1011–1022. https://doi.org/10.1177/0163443709344251 Lee, S., & Nornes, A. M. (Eds.). (2015). Hallyu 2.0: The Korean Wave in the age of social media . University of Michigan Press. Lie, J. (2015). K-pop: Popular music, cultural amnesia, and economic innovation in South Korea . University of California Press. Mohammed, S. F. S., & Balqis, N. M. (2025). Wearing Your Heart on Your Sleeve: K-pop merchandise in validating identity. Harmonia: Journal of Arts Research and Education , 25 (1), 83–98. Moore, H. L. (2011). Intangibles: Culture, Heritage and Identity, in Heritage, Memory & Identity. Sage, London: Sage 273–280. https://doi.org/10.4135/9781446250839.n25 . Nabila, I., Thamrin, H., Supian, S., & Rusmana, E. (2022). An analysis of BTS’s selected song lyrics: A study of denotative, connotative and myth meaning. English education and applied linguistic (EEAL). Journal , 5 (1), 135–146. Oh, I. (2019). Globalization of K-pop: Korea’s place in the global music industry. In F. Lee, & J. Yoon (Eds.), The Korean wave: Evolution, fandom, and transnationality (pp. 37–54). Palgrave Macmillan. Oldenburg, R. (2023). The Great Good Place: Cafés, coffee shops, bookstores, bars, hair salons, and other hangouts at the heart of a community. Berkshire. https://doi.org/10.2307/jj.9561417 Robertson, R. (1995). Glocalization: Time-space and homogeneity-heterogeneity. In M. Featherstone, S. Lash, & R. Robertson (Eds.), Global modernities (pp. 25–44). Sage. Seo, Y. (2021). Community bonding in offline fandom. Asian Popular Culture Review , 8 (2), 90–105. Stake, R. E. (1995). The art of case study research . Sage. Tajfel, H., & Turner, J. C. (1979). An integrative theory of intergroup conflict. In W. G. Austin, & S. Worchel (Eds.), The social psychology of intergroup relations (pp. 33–47). Brooks/Cole. Yep, T. (2023, September 8). A breakdown of K-pop fan events. Pop Tokki. https://www.poptokki.com/a-breakdown-of-k-pop-fan-events/ Zhao, Y. (2022). Analysis of the social impact of fandom culture in idol context. Advances in Journalism and Communication , 10 (4), 377. https://doi.org/10.4236/ajc.2022.104022 Additional Declarations No competing interests reported. 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While scholarly attention has extensively chronicled digital fan practices\u0026mdash;from social media activism and streaming to online community formation (Jung, \u003cspan citationid=\"CR18\" class=\"CitationRef\"\u003e2020\u003c/span\u003e; Oh, \u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2019\u003c/span\u003e)\u0026mdash;a significant blind spot remains in understanding the material, offline infrastructures built by fans themselves, particularly in non- Western contexts. This study shifts the focus from the digital screen to the physical space, examining the organizational logic and cultural significance of K-Pop cupsleeve events in Kuala Lumpur, Malaysia.\u003c/p\u003e\u003cp\u003eAs grassroots gatherings celebrating idols' milestones, these events represent a critical nexus of participatory culture, glocalization, and informal economy that has been largely overlooked, particularly within the Southeast Asian context. Existing research on fandom often bifurcates into studies of online engagement or large-scale, commercialized offline events like concerts (Oh, \u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2019\u003c/span\u003e; Lie, \u003cspan citationid=\"CR23\" class=\"CitationRef\"\u003e2015\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eThis study addresses a theoretical gap in fandom studies by integrating theories of participatory culture (Jenkins, \u003cspan citationid=\"CR17\" class=\"CitationRef\"\u003e2006\u003c/span\u003e), glocalization (Robertson, \u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e1995\u003c/span\u003e), and affective labor (Hardt \u0026amp; Negri, \u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e2004\u003c/span\u003e; Duffett, \u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2013\u003c/span\u003e) to reframe offline fandom as 'affective infrastructure'. It does this by empirically examining three underexplored areas: the material organization of fan labor, fan-driven glocalization strategies, and the socioeconomic networks this labor sustains. Within the multicultural settings like Malaysia, the socioeconomic impacts generated by these informal economies induces our understanding of fandom as a potent force in shaping local cultural economies.\u003c/p\u003e\u003cp\u003eThis research aims to mitigates these deficiencies by:\u003c/p\u003e\u003cp\u003e\u003col\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003e Systematising participation: Charting the sequential coordination of cupsleeve events (e.g., budgeting, vendor collaboration) to elucidate the tangible reality of fan work.\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003e Localizing fan culture: Examining the adaptation of K-pop rituals by Malaysian fans to align with local customs (e.g., venue selection in Kuala Lumpur/Selangor, adherence to halal standards).\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003e Expanding motivational frameworks: Illustrating the intersection of social identification and glocalisation (Robertson, \u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e1995\u003c/span\u003e) in offline fan practices.\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003e Documenting informal economies: Emphasizing the economic contributions of fan organizers, caf\u0026eacute;s, and vendors\u0026mdash;a crucial element in K-pop\u0026rsquo;s worldwide supply chain.\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003c/ol\u003e\u003c/p\u003e\u003cp\u003eConsequently, this study argues that these events represent the construction of a sophisticated 'affective infrastructure\"\u0026mdash;a form of grassroots cultural engineering where fans build ecosystems that provide material, emotional, and economic support for the local community.\"\u003c/p\u003e\u003cp\u003eThis study aims to address these critical gaps by posing three research questions:\u003c/p\u003e\u003cp\u003e\u003col\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003eHow are K-Pop cupsleeve events organized in Malaysia?\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003eWhat motivates fan participation, and how do these events reflect processes of glocalization?\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003cspan\u003e\u003cli\u003e\u003cp\u003eWhat socio-cultural and economic benefits do they generate for local communities?\u003c/p\u003e\u003c/li\u003e\u003c/span\u003e\u003c/ol\u003e\u003c/p\u003e"},{"header":"2.0 Literature Review","content":"\u003cdiv id=\"Sec2\" class=\"Section2\"\u003e\u003ch2\u003e2.1 The Cupsleeve Event: A Primer in Grassroots Cultural Production\u003c/h2\u003e\u003cp\u003eCupsleeve events are fan-organized celebrations held in caf\u0026eacute;s to commemorate milestones of K-Pop idols, such as birthdays or album releases. Global fans have adapted this ritual, which originated in South Korea, into localized meetups. Central to these events is the custom-designed cupsleeve\u0026mdash;a decorative paper sleeve adorned with the idol's imagery, which attendees receive with their beverage purchase. However, these gatherings constitute far more than the distribution of complimentary accessories; they are defined by a set of core organizing principles. Fundamentally fan-initiated and community-driven, they are typically orchestrated by fanbases operating independently of corporate sponsorship. They meticulously craft themed experiences through curated decorations, freebies such as photocards, and activities aligned with the idol's brand identity. A critical function is their facilitation of social bonding and a powerful sense of communal belonging among participants. Furthermore, they operate with a distinct economic hybridity, frequently partnering with caf\u0026eacute;s for mutual benefit while existing within a gray market of unofficial merchandise.\u003c/p\u003e\u003cp\u003eIt is vital to distinguish these grassroots events from formal promotional campaigns or purely commercial activities, highlighting their focus on community, offline celebration and tribute to idols. These are not officially sanctioned promotional events involving artists, merchandise-centered pop-ups focused on sales, digital celebrations, random dance play events, or solely charitable events, although they may include donation aspects. This distinction positions cupsleeve events as a unique occurrence centered on collective offline celebration and honoring idols.\u003c/p\u003e\u003cp\u003eIt is essential to differentiate these grassroots events from formal promotional initiatives or solely commercial endeavors, emphasizing their distinct emphasis on communal, offline celebration and homage to idols. These are not sanctioned promotional events with artist involvement, merchandise-centric pop-ups where sales are the primary goal, digital celebrations, random dance play events, or purely charitable initiatives (though they may incorporate donation elements). This delineation highlights cupsleeve events as a unique phenomenon centered on collective, offline celebration and idol tribute.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec3\" class=\"Section2\"\u003e\u003ch2\u003e2.2 Situating Offline Fan Labor in Participatory and Glocalized Culture\u003c/h2\u003e\u003cp\u003eThe global expansion of K-Pop is often framed as a digital phenomenon, with scholarship rightly focused on online practices like social media activism, streaming, and virtual community formation (Jung, \u003cspan citationid=\"CR18\" class=\"CitationRef\"\u003e2020\u003c/span\u003e; Oh, \u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2019\u003c/span\u003e). Within this domain, Henry Jenkins' (2006) concept of participatory culture has been a foundational framework for understanding fans as active producers and distributors of meaning. However, this lens has been predominantly applied to digital content creation, inadvertently creating a conceptual blind spot that privileges the online realm and overlooks the material, logistical, and embodied forms of participation that constitute offline fan labor (Baym, \u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e2018\u003c/span\u003e; Kim, \u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e2022\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eConcurrently, research on offline K-Pop fandom has predominantly centered on large-scale, commercialized events like concerts and official fan meetings (Lie, \u003cspan citationid=\"CR23\" class=\"CitationRef\"\u003e2015\u003c/span\u003e; Oh, \u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2019\u003c/span\u003e), or on subcultural expressions like dance covers and cosplay (Lamarre, \u003cspan citationid=\"CR20\" class=\"CitationRef\"\u003e2009\u003c/span\u003e). This focus marginalizes small-scale, community-driven gatherings, which are often dismissed as \"niche\" or relegated to anecdotal evidence (Geronimo, \u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e2023\u003c/span\u003e). Consequently, the organizational mechanics of these events\u0026mdash;how they are planned, funded, and executed\u0026mdash;remain almost entirely untheorized, particularly in non-Western contexts. The fan organizers who coordinate these complex workflows function as de facto cultural producers and logistical entrepreneurs, yet their labor is absent from academic and policy discourses on the creative industries.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec4\" class=\"Section2\"\u003e\u003ch2\u003e2.3 Glocalization and Motivational Nuance in Non-Western Contexts\u003c/h2\u003e\u003cp\u003eThe adaptation of global K-Pop practices in local contexts is a process of glocalization (Robertson, \u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e1995\u003c/span\u003e). While often applied to corporate strategy, this theory is vital for analyzing how fan communities indigenize cultural imports. In multicultural Malaysia, this involves navigating linguistic diversity, religious norms such as halal compliance, and local urban rhythms. Yet, the specific mechanisms of this fan-driven glocalization remain unexamined.\u003c/p\u003e\u003cp\u003eFurthermore, prevailing theories of fan motivation, rooted in Social Identity Theory (Tajfel \u0026amp; Turner, \u003cspan citationid=\"CR32\" class=\"CitationRef\"\u003e1979\u003c/span\u003e) and psychological models of affiliation (Duffett, \u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2013\u003c/span\u003e), have been largely developed and tested in Western contexts. Their applicability to the complex identity negotiations of Malaysian fans\u0026mdash;who seamlessly blend global K-pop fandom with local cultural identities, as exemplified by halal-friendly events and bilingual signage\u0026mdash;is untested and potentially limited. This oversight means research overlooks the specific motives and cultural hybridity that define participation in regions like Southeast Asia.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec5\" class=\"Section2\"\u003e\u003ch2\u003e2.4 The Under-Theorized \"Gray Market\" and Economic Hybridity\u003c/h2\u003e\u003cp\u003eThe economic dimension of fan labor constitutes a significant third gap. While the \"gray market\" of unofficial merchandise is well-documented in adjacent fandoms like anime and comics (Lee, \u003cspan citationid=\"CR21\" class=\"CitationRef\"\u003e2009\u003c/span\u003e; Moore, \u003cspan citationid=\"CR25\" class=\"CitationRef\"\u003e2011\u003c/span\u003e), its operation within K-Pop\u0026mdash;specifically in the context of fan event vending\u0026mdash;is severely understudied. The economic hybridity and symbiosis between fan organizers, local caf\u0026eacute;s, and small-scale artists represent a tangible, yet informal, creative micro-economy that sustains the fandom ecosystem (Choi \u0026amp; Burnham, \u003cspan citationid=\"CR4\" class=\"CitationRef\"\u003e2021\u003c/span\u003e). This gap obscures the full material impact of fan activities, reducing them to leisure and ignoring their role as engines of affective labor (Hardt \u0026amp; Negri, \u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e2004\u003c/span\u003e) that generates both social and capital value. The relationship between this affective labor and its conversion into concrete economic networks in metropolitan Malaysia has yet to be investigated.\u003c/p\u003e\u003cp\u003eThis study integrates these three theoretical strands\u0026mdash;participatory culture, glocalization, and affective labor\u0026mdash;to reframe offline fandom. We argue that cupsleeve events are not merely celebrations but are complex sites of glocalized cultural production where fans act as logistical entrepreneurs building affective infrastructure. This framework allows us to address the critical gaps identified above: the material organization of participatory culture, the localizing strategies of Malaysian fans, and the socioeconomic networks that this labor sustains. This affective labor, when combined with the logistical prowess of participatory culture and the adaptive strategies of glocalization, forms the foundation of what we conceptualize as the affective infrastructure of offline fandom. By doing so, this research moves beyond abstract celebrations of fan-led initiatives to systematically examine the organizational mechanics that actualize participatory culture in a non-Western context.\u003c/p\u003e\u003c/div\u003e"},{"header":"3.0 Methodology","content":"\u003cp\u003eTo investigate the components and functions of this fan-built affective infrastructure, this study employed a qualitative case study approach (Stake, \u003cspan citationid=\"CR31\" class=\"CitationRef\"\u003e1995\u003c/span\u003e) to examine the organizational mechanisms and experiential dimensions of K-pop cupsleeve events in Malaysia. The design focused on participant observation (DeWalt \u0026amp; DeWalt, \u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e2011\u003c/span\u003e) to document real-time fan behaviors and motives.\u003c/p\u003e\u003cp\u003e In strict adherence to ethical research protocols and to safeguard the anonymity of all participants and associated entities, all identifying details within the presented case studies have been anonymized. This involved replacing caf\u0026eacute; names with descriptive pseudonyms (e.g., \u0026ldquo;Cafe Vista,\u0026rdquo; \u0026ldquo;Fan Hub A\u0026rdquo;). Similarly, specific, creative titles conceived by fan organizers were substituted with generic descriptive titles that preserve the core celebratory context (e.g., \u0026ldquo;Jimin\u0026rsquo;s Birthday Celebration\u0026rdquo;). This methodological approach is designed to retain the contextual data imperative for analyzing glocalization, accessibility, and economic hybridity\u0026mdash;such as a venue\u0026rsquo;s halal certification or proximity to public transit\u0026mdash;while rigorously protecting the privacy of the involved businesses and individuals, thereby upholding our ethical commitments.\u003c/p\u003e\u003cdiv id=\"Sec7\" class=\"Section2\"\u003e\u003ch2\u003e3.1. Research Setting and Case Selection\u003c/h2\u003e\u003cp\u003eThis study employed a purposive sampling strategy to select six cupsleeve events across Kuala Lumpur and Selangor between October 2024 and January 2025. Case selection was designed to ensure representation across several critical variables, including: diversity of artists celebrated (BTS [3], ENHYPEN [1], EXO [1], and BLACKPINK [1]); event scale (with attendance figures ranging from 80 to over 300, and duration from a single day to one month); and venue type, with a priority given to Muslim-friendly or Halal-certified caf\u0026eacute;s located near public transit hubs. Further selection criteria prioritized events that demonstrated a documented community impact on social media platforms, evidence of cross-generational attendance, and the incorporation of distinct Malaysian cultural elements.\u003c/p\u003e\u003cp\u003eParticipant observation was conducted across all six events, totaling 42 hours. Adopting an \"observer-as-participant\" role (Gold, \u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e1958\u003c/span\u003e), the researcher engaged in event activities while systematically documenting: (1) logistical processes, including setup workflows, vendor interactions, and budgeting\u0026mdash;with insights on these topics gleaned from organizers\u0026rsquo; direct explanations to volunteers and attendees; (2) fan behaviors, such as trading rituals, emotional exchanges, and temporal adaptations; and (3) markers of glocalization, including bilingual signage, halal compliance, and local partnerships. Field notes were structured using templates adapted from Emerson et al. (\u003cspan citationid=\"CR9\" class=\"CitationRef\"\u003e2011\u003c/span\u003e) to track dimensions of organization (e.g., volunteer roles, timeline adherence), adaptation (e.g., localized decor, multilingual use), and interaction (e.g., trading patterns, communal activities).\u003c/p\u003e\u003cp\u003eData on organizational mechanics\u0026mdash;such as event conceptualization, budgeting, and the challenges of vendor negotiations\u0026mdash;were gathered organically through direct observation and from organizers explaining these processes to participants during the events. This offered comprehensive, real-time insight into the logistical work required without necessitating formal interviews.Ultimately, the study of 84 event artifacts\u0026mdash;including giveaways (e.g., photocards, cupsleeves), promotional materials from Instagram and X, and budget spreadsheets outlining donation kit distributions\u0026mdash;facilitated triangulation and enhanced the dataset.\u003c/p\u003e\u003cp\u003eA hybrid theme analysis method (Fereday \u0026amp; Muir-Cochrane, \u003cspan citationid=\"CR10\" class=\"CitationRef\"\u003e2006\u003c/span\u003e) was utilized to analyze the complex qualitative data. The iterative process commenced with inductive open coding of all field notes and artifact documentation with NVivo 14 software. Initial codes emerged organically from participant narratives and observational patterns (e.g., \"donation kit management,\" \"halal venue negotiation,\" \"generational bonding\"). Through constant comparative analysis, these codes were refined into broader categories such as \"logistical labor,\" \"cultural hybridity,\" and \"affective economies.\" Concurrently, a deductive analytical lens was applied using the study\u0026rsquo;s theoretical frameworks: Jenkins\u0026rsquo; (\u003cspan citationid=\"CR17\" class=\"CitationRef\"\u003e2006\u003c/span\u003e) participatory culture concepts guided examination of fan production roles; Robertson\u0026rsquo;s (\u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e1995\u003c/span\u003e) glocalization theory structured analysis of localization practices (e.g., bilingual freebies); and Duffett\u0026rsquo;s (\u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2013\u003c/span\u003e) affective labor theory informed assessment of economic behaviors. Validation sessions with three event organizers affirmed interpretative precision and evaluated emergent themes against contradictory data. Final thematic mapping distilled four pillars of Malaysian cupsleeve culture from the cross-case synthesis.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec8\" class=\"Section2\"\u003e\u003ch2\u003e3.2 Contextual Data Collection\u003c/h2\u003e\u003cp\u003ePrior to and throughout the period of formal data collection, sustained digital ethnography was conducted to map the scope and scale of the cupsleeve event phenomenon within the Klang Valley. This contextual analysis was essential to establish the research environment and substantiate claims about the prevalence of these grassroots gatherings.\u003c/p\u003e\u003cp\u003eThe primary source for this mapping was the Instagram account @cupsleeveMY, a central community hub and aggregator for event announcements within Malaysia. This account functions as a de facto public archive for the scene. To generate a defensible estimate of annual event frequency, a snapshot analysis was performed on the account's posts for a representative one-month period (May 1\u0026ndash;May 31, 2024). During this window, the account posted promotional flyers for 32 distinct cupsleeve events scheduled within the Klang Valley. This monthly figure, which aligns with the researcher's sustained observational data throughout the study period, indicates a highly active and continuous event circuit. When projected across a full calendar year\u0026mdash;accounting for known fluctuations in activity around major idol milestones (e.g., birthdays, debut anniversaries)\u0026mdash;the scale of activity easily numbers in the hundreds of annual events. Journalistic reports further confirm that similar Southeast Asian fan markets organize hundreds of events every year (Geronimo, \u003cspan citationid=\"CR11\" class=\"CitationRef\"\u003e2023\u003c/span\u003e). This contextual data confirms Kuala Lumpur and the Klang Valley as a prolific site for grassroots fan labor and justifies its selection as a rich site for this case study.\u003c/p\u003e\u003c/div\u003e"},{"header":"4.0 Results and Discussion","content":"\u003cp\u003eWe conducted detailed case studies of six representative gatherings to examine the organizational structures, localized adaptations, and experiential dimensions of Malaysian cupsleeve events. To uphold ethical research standards and protect participant and venue privacy, all event names, caf\u0026eacute; identifiers, and specific locations discussed in the following case studies have been anonymized.\u003c/p\u003e\u003cdiv id=\"Sec10\" class=\"Section3\"\u003e\u003cdiv class=\"Heading\"\u003e4.1.1 Case Study 1: JIMIN\u0026rsquo;S BIRTHDAY CELEBRATION (Fan Hub A)\u003c/div\u003e\u003cp\u003eThis event was held at Fan Hub A, a popular, halal-certified venue in a well-known entertainment district of Kuala Lumpur, chosen for its reputation as a family-friendly K-Pop fan space. This birthday celebration was distinguished by its sophisticated curation of atmosphere and its striking demographic diversity, challenging narrow conceptions of K-Pop fandom.\u003c/p\u003e\u003cp\u003eThe event\u0026rsquo;s emotional core was a live violin performance that reinterpreted BTS songs like \"Blood Sweat \u0026amp; Tears\" and \"Spring Day,\" adding a sombre and reflective mood that is uncommon at small-scale cupsleeve events. This use of classical instrumentation, typically reserved for large conventions, elevated the experience and created a profound sense of shared reverence among attendees. This strategic choice aligns with the assertion that emotionally charged elements like live music intensify fan engagement and forge unforgettable communal moments. Beyond the sonic landscape, the event showcased remarkable generational diversity (Mohammed et al. 2025). Attendees ranged from teenagers and young adults to working professionals and parents with children, illustrating the multi-generational appeal of the artist. A particularly memorable scene involved a father actively assisting his young daughter at the photo booth while simultaneously engaging in conversation with other fans\u0026mdash;a vignette that challenges the persistent stereotype that K-Pop fan events are exclusively for the youth. This observed inclusivity reflects that the artist's lyrical themes of self-love, emotional resilience, and vulnerability possess a unique capacity to resonate across age groups. Ultimately, the event served as a powerful demonstration that this fandom is not a niche, age-limited community but a diverse and expanding social ecosystem.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec11\" class=\"Section3\"\u003e\u003cdiv class=\"Heading\"\u003e4.1.2 Case Study 2 : ENHYPEN\u0026rsquo;s 4th ANNIVERSARY EVENT (Cafe Vista)\u003c/div\u003e\u003cp\u003eHeld at Cafe Vista, a modern dessert cafe located within a large, transit-connected shopping mall in Kuala Lumpur, this event celebrated the group's anniversary. The venue was selected for its central location, accessibility via public transit, and halal compliance.\u003c/p\u003e\u003cp\u003eThe anniversary event was a masterclass in organized, fan-driven participation, characterized by a calm and respectful atmosphere that defied expectations for a group with a younger demographic. The event\u0026rsquo;s communal spirit was epitomized by participatory fan interaction, where attendees voluntarily contributed a wealth of personalized freebies, including slogan banners, digital art prints, and handmade bookmarks. These unprompted contributions, which significantly enriched the event's d\u0026eacute;cor and gift economy, reflect what Seo (\u003cspan citationid=\"CR30\" class=\"CitationRef\"\u003e2021\u003c/span\u003e) terms \"participatory fan energy,\" demonstrating how fans actively create and share original content to enhance the collective experience.\u003c/p\u003e\u003cp\u003eThis deep engagement was further channeled through interactive fan games, including a detailed quiz and giveaway session based on the members\u0026rsquo; personalities, birthdays, and personal quotes. The high degree of accuracy and enthusiastic participation revealed a profound level of fan literacy, tested deep knowledge of the group's history and lyrics reflecting in a strong emotional bond (Zhao, \u003cspan citationid=\"CR34\" class=\"CitationRef\"\u003e2022\u003c/span\u003e).\u003c/p\u003e\u003cp\u003eDespite the potential for high energy, the event atmosphere remained notably calm, polite, and organized. Fans queued orderly for freebies and photo booths with minimal supervision, exhibiting a considerate and respectful demeanor. This observed conduct aligns with Choi \u0026amp; Burnham\u0026rsquo;s (\u003cspan citationid=\"CR4\" class=\"CitationRef\"\u003e2021\u003c/span\u003e) concept that internalized group norms guide behavior at fan events; in this case, fans appeared to mirror the values of unity, kindness, and consideration often associated with their idols, transforming the space into a self-regulating community.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec12\" class=\"Section3\"\u003e\u003cdiv class=\"Heading\"\u003e4.1.3 Case Study 3 : CHANYEOL\u0026rsquo;S BIRTHDAY EVENT (Cafe Lumina)\u003c/div\u003e\u003cp\u003eThis event took place at Cafe Lumina, a boutique caf\u0026eacute; situated in a large Kuala Lumpur mall, known for hosting creative community events. In addition to traditional activities like cake-cutting and a photo zone, the event featured a remarkable exhibition of small instrument replicas made by fans and organized storytelling sessions. The celebration included artistic decorations created by fans, showcasing detailed miniature replicas of the idol's guitar and amplifier. These handmade pieces, described by Seo (\u003cspan citationid=\"CR30\" class=\"CitationRef\"\u003e2021\u003c/span\u003e) as \"customized cultural texts,\" expressed a shared respect for the artist's work and established a warm, personalized atmosphere. The storytelling sessions allowed fans to share personal stories about how the artist's music impacted their lives, transforming the event into a space for collective support and sharing. The sense of closeness grew during fan-led discussion groups, where participants openly shared personal experiences of how the artist's music provided comfort in tough times. This study describes these open stories as \"fandom testimony,\" turning the gathering into a safe and compassionate space for shared vulnerability and healing.\u003c/p\u003e\u003cp\u003eThe event had considerable cross-generational appeal, drawing both seasoned enthusiasts and a fresh influx of younger fans\u0026mdash;a phenomenon corroborated by Choi \u0026amp; Burnham\u0026rsquo;s (\u003cspan citationid=\"CR4\" class=\"CitationRef\"\u003e2021\u003c/span\u003e) study on the internet resurgence of older K-pop artists.\u003c/p\u003e\u003cp\u003e Throughout, fan behavior exemplified a strong community ethic; attendees cooperated peacefully, adhered to guidelines, and some even assisted in post-event cleanup. This conduct reflects Oh\u0026rsquo;s (\u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2019\u003c/span\u003e) assertion that fandom can operate as a moral community, where fans mirror the respectful and humble values they associate with their idol.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec13\" class=\"Section3\"\u003e\u003cdiv class=\"Heading\"\u003e4.1.4 Case Study 4 : JIN\u0026rsquo;S BIRTHDAY CELEBRATION (Fan Hub A)\u003c/div\u003e\u003cp\u003eHosted again at Fan Hub A, this event celebrated the birthday of the artist during his military enlistment. This celebration was characterized by a unique blend of cheerful aesthetics and reflective emotion, showcasing the multifaceted nature of fan engagement. The event\u0026rsquo;s bright and youthful concept design was directly inspired by the artist's first solo album \u0026lsquo;HAPPY\u0026rsquo; and his astronaut-themed solo song. Decor elements meticulously incorporated the album\u0026rsquo;s three main colours (red, green, blue) and featured \u0026lsquo;Wootteo,\u0026rsquo; the official astronaut character. This practice reflects the role of fans as \u0026ldquo;cultural translators\u0026rdquo; (Lee \u0026amp; Nornes, 2020), who adeptly reframe an idol\u0026rsquo;s core artistic concepts into locally meaningful and visually cohesive event experiences.\u003c/p\u003e\u003cp\u003eDue in large part to the artist's impending military enrollment, the emotional ambiance skewed toward introspection and nostalgia despite the colorful d\u0026eacute;cor. Guests participated in a key activity by writing and pinning heartfelt handwritten notes of support and appreciation on a shared wall. This collective documentation helps fans maintain a shared emotional history, a concept De Kosnik (\u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e2021\u003c/span\u003e) refers to as the \"archival effect.\" The event further enriched its multisensory environment by including multimedia content, such as live screenings of the artist's solo performances and fan-recorded messages. This hybrid approach, combining digital and physical participation, reinforces Abidin's (2020) characterization of fans as digital content creators, generating emotionally resonant media and complex interactive experiences. Fans could interact meaningfully with their shared feelings of anticipation and absence through this method.\u003c/p\u003e\u003cp\u003eOne important observation was the high gender diversity among attendees, with about 25% being men, including couples and individual fans, who actively engaged in swapping photocards, selling albums, and participating in photo zone activities. This marked a significant shift from the typically female-centered audience at Malaysian BTS events and suggests changing gender dynamics within K-pop fandoms, indicating that the artist's message of healthy masculinity and emotional openness resonates with both men and women.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec14\" class=\"Section3\"\u003e\u003cdiv class=\"Heading\"\u003e4.1.5 Case Study 5 : SEUNGKWAN\u0026rsquo;S BIRTHDAY EVENT (Cafe Vista)\u003c/div\u003e\u003cp\u003eThis event, which was held at Caf\u0026eacute; Vista, focused on inclusivity for artists and community support. It included vendor booths where local artists sold their work and a prominent fan art show. The focus on inclusive community engagement and the encouragement of a local creative economy made this birthday celebration at Cafe Vista stand out. A musical ticket giveaway, a lucky draw, a photo area, and vendor stalls were among the events planned to create a fun and interactive atmosphere.\u003c/p\u003e\u003cp\u003eImportantly, the event went beyond the attention of individual members. It welcomed both his devoted admirers and OT13 (all 13 members) SEVENTEEN supporters with ease while honoring the artist. Participants were noted to be discussing the group's broader dynamics and collaboration, openly contesting the prevalent belief that individual member events create divisions within the fandom. This indicates a wider trend in K-pop, wherein fans, particularly in groups characterized by robust friendship, are progressively endorsing many members together.\u003c/p\u003e\u003cp\u003eA defining feature was the fan art exhibition. Local artists displayed and sold their work\u0026mdash;including prints, stickers, and handmade crafts\u0026mdash;at accessible price points from vendor booths, turning their passion into a modest source of income. This creative output was deeply integrated into the event\u0026rsquo;s d\u0026eacute;cor, enhancing its visual appeal and transforming the space into a micro-platform for artistic expression. This practice reinforces the concept of \u0026ldquo;participatory fan enrichment\u0026rdquo; (Jenkins ,2006), where fan-made content significantly deepens the community's emotional and cultural connection to the idol\u0026rsquo;s narrative while sustaining an informal creative economy.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec15\" class=\"Section3\"\u003e\u003cdiv class=\"Heading\"\u003e4.1.6 Case Study 6 : BLACKPINK\u0026rsquo;S GROUP ANNIVERSARY EVENT (City Blend Cafe)\u003c/div\u003e\u003cp\u003eThis event was held at City Blend Cafe, located in a populous suburban community in Selangor, and was distinct for its extended duration. This group anniversary event at City Blend Cafe was strategically distinct for its innovative temporal model and its precise targeting of a specific demographic. Unlike the typical single-day or weekend-long cupsleeve format, this event ran for the entire month, a rare and pragmatic adaptation. The extended duration allowed for the cost-effective reuse of decorations and freebies, significantly reducing the financial burden on organizers while maximizing the return on investment for the caf\u0026eacute;. The event\u0026rsquo;s activities, including freebies claims and a dedicated photo zone, were designed for sustained engagement. The venue selection was a critical component of this strategy.\u003c/p\u003e\u003cp\u003eCity Blend Cafe is situated within a populous suburban community characterized by a high concentration of families, working professionals, and retirees. Crucially, the caf\u0026eacute;\u0026rsquo;s daily operating schedule, which includes weekdays, explicitly accommodated the routines of this target demographic. This strategic scheduling afforded working adult fans the flexibility to participate outside standard office hours\u0026mdash;a key logistical advantage that conventional weekend-only events fail to provide. This sophisticated approach to spatio-temporal organization demonstrates a keen, practical application of glocalization, wherein the global K-pop event model is fundamentally restructured to align with the specific rhythms of a Malaysian suburban context. This resulted in a notably high turnout from professionals aged 30 to 50, showing how local organizers use their knowledge to promote inclusivity and sustainability. Table\u0026nbsp;\u003cspan refid=\"Tab1\" class=\"InternalRef\"\u003e1\u003c/span\u003e outlines the main characteristics of these events.\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab1\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 1\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eCase Study Summary of K-Pop Cupsleeve Events in Kuala Lumpur | Our analysis distilled four central themes from the case studies: temporal-spatial innovation, economic hybridity, demographic expansion, and emotional community-building\u0026mdash;all underpinned by significant resourcefulness and cultural adaptation. These findings compel a re-conceptualization of offline fandom as a form of affective infrastructure, where fans engineer not merely celebrations, but entire ecosystems of belonging, resilience, and cultural reinvention\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"5\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c5\" colnum=\"5\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003eEvent Name / Venue\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eKey Activities\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eOrganizational Highlights\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003eGlocal Adaptations\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c5\"\u003e\u003cp\u003eFindings\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eJIMIN\u0026rsquo;S BIRTHDAY CELEBRATION,\u003c/p\u003e\u003cp\u003eFan Hub A\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eFreebies claim and exchanges\u003c/p\u003e\u003cp\u003eViolin performance\u003c/p\u003e\u003cp\u003eGroup photos\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eCoordinated live performer\u003c/p\u003e\u003cp\u003eDesigned for generational inclusivity\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eFamily-friendly scheduling\u003c/p\u003e\u003cp\u003eMuslim-friendly caf\u0026eacute;\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eGenerational diversity (incl. parents \u0026amp; kids)\u003c/p\u003e\u003cp\u003eEmotional impact of live music\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eENHYPEN\u0026rsquo;s 4th Anniversary Event,\u003c/p\u003e\u003cp\u003eCafe Vista\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eVendor booths\u003c/p\u003e\u003cp\u003eFan quizzes\u003c/p\u003e\u003cp\u003eFreebies art prints and bookmarks\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eCollaborated with experienced team\u003c/p\u003e\u003cp\u003eCurated quiz content\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eHalal-certified venue\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eDemonstrated high fan literacy\u003c/p\u003e\u003cp\u003eCalm and organized atmosphere despite younger fanbase\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eCHANYEOL\u0026rsquo;S BIRTHDAY EVENT,\u003c/p\u003e\u003cp\u003eCafe Lumina\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eCake cutting\u003c/p\u003e\u003cp\u003eLucky draw\u003c/p\u003e\u003cp\u003ePhoto zone\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eCrafted miniature instrument replicas\u003c/p\u003e\u003cp\u003eCurated emotional storytelling\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eBilingual signage\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eFacilitated profound emotional storytelling among fans\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eJIN\u0026rsquo;S BIRTHDAY CELEBRATION,\u003c/p\u003e\u003cp\u003eFan Hub A\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003ePhotocard trading\u003c/p\u003e\u003cp\u003e\"Happy Album\" sales\u003c/p\u003e\u003cp\u003eVideo messages\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eCollected multimedia content\u003c/p\u003e\u003cp\u003eTargeted male-inclusive marketing\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eThemed desserts matching album colors\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eNotable 25% male attendance\u003c/p\u003e\u003cp\u003eStrong nostalgic and multimedia engagement\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eSEUNGKWAN\u0026rsquo;S BIRTHDAY EVENT,\u003c/p\u003e\u003cp\u003eCafe Vista\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eFan art exhibition\u003c/p\u003e\u003cp\u003eConcert ticket giveaway\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003ePartnered with local artists\u003c/p\u003e\u003cp\u003eCoordinated charity raffle\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eLow-cost vendor fees for student artists\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eInclusive \"OT13\" participation\u003c/p\u003e\u003cp\u003eSupported local artist economy\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eBLACKPINK\u0026rsquo;S GROUP ANNIVERSARY EVENT,\u003c/p\u003e\u003cp\u003eCity Blend Cafe\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eMonth-long freebies\u003c/p\u003e\u003cp\u003ePhoto zone\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eReused decorations for cost efficiency\u003c/p\u003e\u003cp\u003eScheduled for working adults\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eMonth-long event format\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c5\"\u003e\u003cp\u003eCatered to working adults (40% aged 30\u0026ndash;50)\u003c/p\u003e\u003cp\u003eIncrease in caf\u0026eacute; revenue\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003cp\u003e\u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab2\" border=\"1\"\u003e\u003ccaption language=\"En\"\u003e\u003cdiv class=\"CaptionNumber\"\u003eTable 2\u003c/div\u003e\u003cdiv class=\"CaptionContent\"\u003e\u003cp\u003eGrassroots logistical Entrepreneurship\u003c/p\u003e\u003c/div\u003e\u003c/caption\u003e\u003ccolgroup cols=\"4\"\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e\u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e\u003cthead\u003e\u003ctr\u003e\u003cth align=\"left\" colname=\"c1\"\u003e\u003cp\u003ePhase\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c2\"\u003e\u003cp\u003eTimeline\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c3\"\u003e\u003cp\u003eKey Tasks\u003c/p\u003e\u003c/th\u003e\u003cth align=\"left\" colname=\"c4\"\u003e\u003cp\u003eStakeholders\u003c/p\u003e\u003c/th\u003e\u003c/tr\u003e\u003c/thead\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eConceptualization\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e3\u0026ndash;4 months pre-event\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eTheme selection\u003c/p\u003e\u003cp\u003eBudget planning\u003c/p\u003e\u003cp\u003eVenue booking\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eLead organizer, finance team\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eDesign \u0026amp; Production\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e2 months pre-event\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003ePoster/cupsleeve design\u003c/p\u003e\u003cp\u003eFreebie creation Supplier coordination\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eGraphic designer, vendors\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003ePromotion\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003e1 month pre-event\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eSocial media teasers\u003c/p\u003e\u003cp\u003e@cupsleeveMY tagging\u003c/p\u003e\u003cp\u003eCaf\u0026eacute; collabs\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eSocial media manager, caf\u0026eacute; partners\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003ctr\u003e\u003ctd align=\"left\" colname=\"c1\"\u003e\u003cp\u003eExecution\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c2\"\u003e\u003cp\u003eEvent day\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c3\"\u003e\u003cp\u003eSetup (6\u0026ndash;8 AM)\u003c/p\u003e\u003cp\u003eFreebie distribution\u003c/p\u003e\u003cp\u003eActivity hosting\u003c/p\u003e\u003c/td\u003e\u003ctd align=\"left\" colname=\"c4\"\u003e\u003cp\u003eVolunteers, performers\u003c/p\u003e\u003c/td\u003e\u003c/tr\u003e\u003c/tbody\u003e\u003c/colgroup\u003e\u003c/table\u003e\u003c/div\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec16\" class=\"Section2\"\u003e\u003ch2\u003e4.2 Temporal-Spatial Innovation: Localizing Participation\u003c/h2\u003e\u003cp\u003eMalaysian organizers demonstrated remarkable ingenuity by radically adapting event formats to local socio-temporal realities. The month-long BLACKPINK celebration at City Blend Cafe, unlike the usual single-day events in Korea, catered to working adults' schedules, reduced costs through reusing decorations, and improved accessibility. Organizers improved Korea's one-day model to create lasting glocalized spaces that highlight accessibility over exclusivity. Similarly, BTS Jin's event featured fan-recorded video messages along with physical activities, blending digital and physical environments that Abidin (\u003cspan citationid=\"CR1\" class=\"CitationRef\"\u003e2020\u003c/span\u003e) associates with Gen Z fandom.\u003c/p\u003e\u003cp\u003eVenue selections demonstrated cultural pragmatism: halal-certified caf\u0026eacute;s, such as Cafe Lumina, located near LRT stations (Light Rail Transit, a widely utilized and efficient public transportation system serving Kuala Lumpur and the surrounding Klang Valley), facilitated participation throughout Kuala Lumpur's dispersed urban environment. These alterations illustrate Robertson\u0026rsquo;s (\u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e1995\u003c/span\u003e) notion of glocalization, becoming the spatio-temporal basis of the affective infrastructure\u0026mdash;global fan activities modified to correspond with Malaysian rhythms. The transformation of cupsleeve events into third spaces (Bhabha, \u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e1994\u003c/span\u003e; Oldenburg, \u003cspan citationid=\"CR28\" class=\"CitationRef\"\u003e2023\u003c/span\u003e) enables the collaborative development of novel cultural meanings and practices at the convergence of global fandom and Malaysian identity.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec17\" class=\"Section2\"\u003e\u003ch2\u003e4.3 Beyond Digital Fandom: Embodied Labour\u003c/h2\u003e\u003cp\u003eCupsleeve events exemplify embodied participatory culture, converting Malaysian fans from passive consumers into active makers of cultural infrastructure. This expands Jenkins' fundamental concept beyond digital domains, emphasizing the materiality of fan work. In contrast to exclusively online fandom, these assemblies need fans to adeptly navigate intricate logistical challenges: organizing volunteer groups, negotiating with caf\u0026eacute;s, creating goods, and overseeing funds using hybrid funding mechanisms such as donation kits. This effort, noted in all six events, reveals a paraprofessional organizational structure, a phenomena we designate as \"grassroots logistical entrepreneurship.\"\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec18\" class=\"Section2\"\u003e\u003ch2\u003e4.4 Micro-Economies of Enthusiasm: Validating Fan Labor\u003c/h2\u003e\u003cp\u003eEconomic Hybridity: Fan Entrepreneurship Emerges/Grassroots Cultural Entrepreneurship. Table\u0026nbsp;\u003cspan refid=\"Tab1\" class=\"InternalRef\"\u003e1\u003c/span\u003e demonstrates a continuous pattern of economic interdependence, with events collaborating with local caf\u0026eacute;s in all instances and often including vendor booths (e.g., 'SEUNGKWAN\u0026rsquo;S BIRTHDAY EVENT,' 'ENHYPEN\u0026rsquo;s 4th Anniversary Event'), resulting in quantifiable revenue growth for companies. Fan labor transcended logistics, encompassing informal creative economies. During SEVENTEEN Seungkwan\u0026rsquo;s \"SEUNGKWAN\u0026rsquo;S BIRTHDAY EVENT,\" local artisans marketed fan art prints and handcrafted keychains at vendor booths, yielding a substantial and lucrative income while simultaneously augmenting the d\u0026eacute;cor\u0026mdash;a phenomenon that Park (2021) describes as \"participatory fan enrichment.\" Unprompted, fans at ENHYPEN\u0026rsquo;s event distributed self-made freebies (digital art, bookmarks), illustrating Duffett\u0026rsquo;s (\u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2013\u003c/span\u003e) concept of affective labor as communal currency. Crucially, caf\u0026eacute;s like City Blend Cafe reported a major surge in customer traffic and a substantial revenue increase during month-long events, proving that fan initiatives drive tangible local business growth. These spaces sustain micro-economies of affective labor (Duffett, \u003cspan citationid=\"CR8\" class=\"CitationRef\"\u003e2013\u003c/span\u003e), where fans monetize artistic skills while resisting commercial K-pop IP regimes. This ecosystem\u0026mdash;where fan artists monetize skills, vendors access markets, and caf\u0026eacute;s gain patronage\u0026mdash;exemplifies a glocalized micro-economy challenging top-down K-pop commerce.\u003c/p\u003e\u003cdiv id=\"Sec19\" class=\"Section3\"\u003e\u003ch2\u003e4.4.1 Resourcefulness\u0026mdash;Maximizing Limited Means\u003c/h2\u003e\u003cp\u003eMalaysian cup sleeve organizers demonstrate remarkable resourcefulness in overcoming financial and logistical constraints. In the absence of corporate sponsorship, teams depend on innovative, community-based funding sources, notably pre-sold 'donate kits.'These kits provide the exchange of fan-created luxury items (e.g., acrylic standees, holographic photocards) for essential initial funding, which finances venue rents and printing expenses while cultivating a robust sense of community ownership. Organizers strategically target accessible sites such as Fan Hub A, selected specifically for its proximity to LRT stations. This guarantees increased attendance throughout Kuala Lumpur's extensive urban area while reducing transportation obstacles for students and working-class supporters. Additional creativity is seen in vendor alliances, as fan artists share booth expenses (e.g., Seungkwan\u0026rsquo;s Birthday Event) and negotiate with local printers for bulk discounts\u0026mdash;transforming constrained finances into engaging experiences.\u003c/p\u003e\u003cp\u003eFan organizers exhibited a developing professionalization via organized labor practices. As outlined in Table\u0026nbsp;\u003cspan refid=\"Tab2\" class=\"InternalRef\"\u003e2\u003c/span\u003e, groups of 5\u0026ndash;10 volunteers allocated responsibilities based on expertise, functioning within deadlines of 3\u0026ndash;4 months\u0026mdash;emulating professional event planning despite the absence of formal training. For example, ENHYPEN's \"4th Anniversary Event\" necessitated two months for the design of quiz content, the reservation of a halal-compliant caf\u0026eacute;, and the sale of donation kits that financed 60% of the expenses. These behaviors demonstrate that participatory culture transcends digital production, manifesting in \"embodied organizational labor,\" and is sustained by emotional investment rather than financial gain. This organizational capability, grounded on resourcefulness, enables organizers to optimize limited resources by utilizing new funding approaches and strategically selecting venues near public transit hubs to surmount financial and logistical challenges. This represents a unique method of engaging with materials and a careful reallocation of resources, deepening our understanding of how fans can shape their cultural context.\u003c/p\u003e\u003c/div\u003e\u003c/div\u003e\u003cdiv id=\"Sec20\" class=\"Section2\"\u003e\u003ch2\u003e4.5 \u003cb\u003eRedefining Fandom: Demographic Expansion and Emotional Communities\u003c/b\u003e\u003c/h2\u003e\u003cp\u003eThis theme synthesizes two interrelated outcomes generated by the affective infrastructure: the subversion of demographic stereotypes and the formation of robust emotional support networks.\u003c/p\u003e\u003cdiv id=\"Sec21\" class=\"Section3\"\u003e\u003ch2\u003e4.5.1 Demographic Expansion: Challenging the Homogenous Fan Archetype\u003c/h2\u003e\u003cp\u003eThe data consistently disrupts the prevalent stereotype of K-Pop fandom as a homogenous, female-dominated youth culture (Oh, \u003cspan citationid=\"CR27\" class=\"CitationRef\"\u003e2019\u003c/span\u003e). This expansion is a direct result of the glocalized strategies detailed in Section \u003cspan refid=\"Sec16\" class=\"InternalRef\"\u003e4.2\u003c/span\u003e. The intentional design of events for family-friendly inclusivity (e.g., Fan Hub A's environment), accessibility for working adults (e.g., City Blend Cafe's month-long schedule), and themes promoting emotional vulnerability (e.g., BTS's \"Love Yourself\" ethos) actively fostered cross-generational and cross-gender participation.\u003c/p\u003e\u003cp\u003eThis was evidenced by the significant presence of parents with children at BTS Jimin's event, the notable 25% male attendance\u0026mdash;including couples and solo fans\u0026mdash;at BTS Jin's event, and the 40% of attendees aged 30\u0026ndash;50 at the BLACKPINK celebration. These patterns affirm that the affective infrastructure built by Malaysian fans functions as a cross-generational social space, where family units share cultural experiences, and where idols' narratives of emotional resilience resonate across gender lines, challenging homogenous portrayals of Asian fanbases.\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec22\" class=\"Section3\"\u003e\u003ch2\u003e4.5.2 Emotional Communities: Rituals of Shared Vulnerability and \"Fandom Testimony\"\u003c/h2\u003e\u003cp\u003eBeyond demographic metrics, the events facilitated deep emotional connections, evolving into what we term \u003cb\u003e\"fandom testimony\"\u003c/b\u003e sites. This concept, extending De Kosnik's (2021) \"archival effect,\" describes the therapeutic practice of processing personal life experiences through collective idol narratives.\u003c/p\u003e\u003cp\u003eThis was observed in the \u003cb\u003erituals of shared vulnerability\u003c/b\u003e that defined several events: the heartfelt letter-writing for BTS Jin during his military enlistment and the spontaneous personal storytelling about overcoming adversity through EXO Chanyeol's music. These acts transformed celebrations into spaces of \u003cb\u003ecollective catharsis and support\u003c/b\u003e, akin to informal support groups. Even activities like ENHYPEN's detailed quiz became rituals of belonging, demonstrating deep affective investment (Kim, \u003cspan citationid=\"CR19\" class=\"CitationRef\"\u003e2022\u003c/span\u003e) that transcended trivia.\u003c/p\u003e\u003cp\u003eThis emotional labour, though economically unquantified, generates significant socio-emotional capital. This highlights the role of cupsleeve events as the psychological core of the affective infrastructure\u0026mdash;safe havens for collective vulnerability where the embodied co-presence of fans facilitated by the offline infrastructure they built\u0026mdash;enables a depth of connection difficult to achieve in digital spaces alone.\u003c/p\u003e\u003c/div\u003e\u003c/div\u003e\u003cdiv id=\"Sec23\" class=\"Section2\"\u003e\u003ch2\u003e4.6 The Socio-Cultural and Economic Benefits of Cupsleeve Events\u003c/h2\u003e\u003cp\u003eThis study's findings demonstrate that K-Pop cupsleeve events generate significant and multifaceted benefits for local Malaysian communities, which can be categorized as follows:\u003c/p\u003e\u003cdiv id=\"Sec24\" class=\"Section3\"\u003e\u003ch2\u003e4.6.1 Socio-Cultural Benefits:\u003c/h2\u003e\u003cp\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003eCreation of Intergenerational and Inclusive Third Spaces: The events function as what Oldenburg (\u003cspan citationid=\"CR28\" class=\"CitationRef\"\u003e2023\u003c/span\u003e) terms \"third places\"\u0026mdash;social surroundings separate from the two usual social environments of home and work. This is evidenced by the presence of families at BTS Jimin's event and the high attendance of working adults (aged 30\u0026ndash;50) at the BLACKPINK event. By being intentionally family-friendly and scheduled outside standard work hours, these events become rare cultural spaces where different generations and demographics can commune.\u003c/p\u003e\u003c/li\u003e\u003cli\u003e\u003cp\u003eFormation of Emotional Support Networks: Beyond celebration, events become sites for \"fandom testimony\" and collective catharsis. The heartfelt letter-writing for BTS Jin and the personal storytelling at EXO Chanyeol's event transformed these gatherings into informal support groups. This provides a crucial socio-emotional function, offering a safe haven for shared vulnerability and mutual understanding that is often lacking in digital-only fan interactions.\u003c/p\u003e\u003c/li\u003e\u003cli\u003e\u003cp\u003eCultural Glocalization and Identity Validation: The events validate the identity of Malaysian fans by allowing them to seamlessly blend their global fandom with local cultural identity. The mandatory halal certification, bilingual signage, and adaptation to local urban rhythms (e.g., month-long formats, LRT-accessible venues) are not just logistical choices but acts of cultural affirmation. They demonstrate that one can be a devout Muslim or a working professional and a fully participating member of a global fan community.\u003c/p\u003e\u003c/li\u003e\u003c/ul\u003e\u003c/p\u003e\u003c/div\u003e\u003cdiv id=\"Sec25\" class=\"Section3\"\u003e\u003ch2\u003e4.6.2. Economic Benefits:\u003c/h2\u003e\u003cp\u003e\u003cul\u003e\u003cli\u003e\u003cp\u003eDirect Revenue Generation for Local Businesses: The most tangible economic impact is on partner caf\u0026eacute;s. As documented, venues like City Blend Cafe reported a 20\u0026ndash;30% surge in revenue during events. This is driven by minimum spend requirements and increased customer traffic, providing a direct and significant financial boost to local SMEs.\u003c/p\u003e\u003c/li\u003e\u003cli\u003e\u003cp\u003eSupport for a Local Creative Micro-Economy: The events provide a vital platform for local artists and vendors. At events like SEUNGKWAN'S BIRTHDAY EVENT, fan artists monetize their skills by selling prints, stickers, and handmade crafts. This creates an informal but profitable income stream for young creatives, effectively functioning as a micro-entrepreneurial incubator within the creative economy.\u003c/p\u003e\u003c/li\u003e\u003cli\u003e\u003cp\u003eThe Development of Paraprofessional Skills: The complex logistical organization required (Table\u0026nbsp;\u003cspan refid=\"Tab2\" class=\"InternalRef\"\u003e2\u003c/span\u003e) means fan organizers develop and practice high-value skills in project management, budgeting, negotiation, marketing, and event planning. This constitutes an informal capacity-building ecosystem, equipping a predominantly young workforce with professional experience outside the traditional corporate structure.\u003c/p\u003e\u003c/li\u003e\u003c/ul\u003e\u003c/p\u003e\u003cp\u003eIn summary, the socio-cultural benefit is the creation of an inclusive, supportive, and glocalized affective infrastructure. The economic benefit is the stimulation of a sustainable, fan-driven micro-economy that supports local businesses, artists, and skill development. These benefits compel a re-evaluation of such grassroots fan initiatives from mere leisure activities to valuable contributors to the local socio-economic fabric.\u003c/p\u003e\u003c/div\u003e\u003c/div\u003e"},{"header":"5.0 Conclusion \u0026 Policy Implications","content":"\u003cp\u003eMalaysian cupsleeve events radically transform offline fandom into a labor-intensive affective infrastructure, positioning fans as community creators rather than passive consumers. This research, via empirical analysis of six case studies, illustrates how fans construct:\u003c/p\u003e\u003cp\u003eSocial infrastructure: Intergenerational spaces (e.g., families at BTS Jimin\u0026rsquo;s event) and emotional support networks via \"fandom testimony\" sessions (e.g., EXO Chanyeol\u0026rsquo;s storytelling circle).\u003c/p\u003e\u003cp\u003eEconomic drivers: Sustainable micro-entrepreneurship through vendor stalls, enabling fan artists to generate a meaningful income and significantly enhancing business and caf\u0026eacute; collaborations.This challenges reductionist views of fandom as mere leisure (Hesmondhalgh, \u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e2019\u003c/span\u003e), instead highlighting it as a valid component of the creative economy that warrants institutional recognition.\u003c/p\u003e\u003cp\u003eCultural ministries ought to implement three evidence-based policies to harness this potential:\u003c/p\u003e\u003cp\u003eImplement Japan's dōjinshi model to provide fan-art licenses, thereby legitimizing minor sales of transformative items while honoring intellectual property rights. Finance grassroots activities via micro-grants, emphasizing events that integrate global and local cultures (e.g., K-pop/Malay artist hybrid events).To enhance accessibility for all, offer public venues like libraries and community halls as affordable spaces.\u003c/p\u003e\u003cp\u003eNavigating the gray area requires proactive policy solutions to safeguard both intellectual property rights and significant fan culture. One suggestion involves agencies like the Korea Creative Content Agency (KOCCA) offering accessible \"fan art licenses.\" Drawing from Japan's effective dōjinshi model, these licenses could allow limited, non-exclusive sales with set restrictions on quantity or profits, protecting small-scale fan artists legally. Additionally, targeted training on intellectual property is essential. Workshops could inform fan artists about navigating intellectual property constraints, providing strategies to avoid trademarked logos and official images while encouraging highly transformative designs, like unique chibi art styles or original compositions, that are more likely to fall under fair use. Establishing designated \"IP sandbox\" areas, like official \"Fan Art Bazaars\" at major cultural festivals or Hallyu events, could create spaces where the limited sale of transformative fan art is explicitly permitted and shielded from standard takedown requests, fostering creativity within a regulated framework. These layered solutions seek to validate fan enthusiasm while also respecting the critical business interests of rights holders.\u003c/p\u003e\u003cp\u003eHoman (\u003cspan citationid=\"CR16\" class=\"CitationRef\"\u003e2014\u003c/span\u003e) asserts that intellectual property regulations must adapt to support participatory cultures. Incorporating these initiatives into Malaysia's Dasar Industri Kreatif Negara (National Creative Industry Policy) would elevate fan efforts from niche activities to established cultural infrastructure, strengthening soft power, youth involvement, and creative enterprise across the nation. This research has shown that the affective infrastructure is a significant grassroots resource that should be cultivated through policy.\u003c/p\u003e"},{"header":"Declarations","content":"\u003ch2\u003eAuthor Contribution\u003c/h2\u003e\u003cp\u003eAuthor Contributions: Sharifah Faizah Syed Mohammed (Mohammed, S.F.S.) was responsible for the conceptualization of the research framework, methodology design, formal analysis, supervision, project administration, and the critical revision, editing, and finalization of the manuscript. Amirah Zahidah Shafi'e (Shafi'e, A.Z.) was responsible for data collection, investigation, transcription, data curation, and the writing of the initial draft. All authors have read and agreed to the published version of the manuscript.\u003c/p\u003e\u003ch2\u003eAcknowledgement\u003c/h2\u003e\u003cp\u003eThe research was made possible through the HICoE KPT.BP(S).400-2/4/4 Jld.2(14) from the Ministry of Higher Education, Malaysia. We wish to thank Universiti Teknologi MARA (UiTM) for funding this publication. The reference for the ethics approval of this study is CCA/12/PKM/2024 (EXM11).\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\u003cli\u003e\u003cspan\u003eAbidin, C. (2020). 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Analysis of the social impact of fandom culture in idol context. \u003cem\u003eAdvances in Journalism and Communication\u003c/em\u003e, \u003cem\u003e10\u003c/em\u003e(4), 377. \u003cspan class=\"ExternalRef\"\u003e\u003cspan class=\"RefSource\"\u003ehttps://doi.org/10.4236/ajc.2022.104022\u003c/span\u003e\u003cspan address=\"10.4236/ajc.2022.104022\" targettype=\"DOI\" class=\"RefTarget\"\u003e\u003c/span\u003e\u003c/span\u003e\u003c/span\u003e\u003c/li\u003e\u003c/ol\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":true,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true},"keywords":"K-pop, fandom, participatory culture, glocalization, affective labor, grassroots economy, Malaysia","lastPublishedDoi":"10.21203/rs.3.rs-7683576/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-7683576/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eThis study examines the organizational mechanisms and motivational dynamics of K-pop cupsleeve events in Kuala Lumpur, Malaysia\u0026mdash;grassroots fan gatherings celebrating idols' milestones. Through qualitative case studies of six events (Oct 2024\u0026ndash;Jan 2025), we address how fans construct a robust 'affective infrastructure' that supports both community and commerce. Findings reveal that Malaysian fans operate as logistical producers, coordinating complex workflows via volunteer teams, donation-based funding models, and caf\u0026eacute; partnerships. Events strategically adapt Korean models to local norms: muslim friendly or halal venues, bilingual signage, and extended durations (e.g., month-long pop-ups) accommodate working adults and families. Crucially, these events generate emotional communities (e.g., collective catharsis during military enlistments) and foster informal economies, with caf\u0026eacute; partners and fan artists report significant benefits to patronage and sales. The study redefines offline fandom as a form of grassroots, glocalized affective infrastructure, demonstrating how Southeast Asian fans engineer ecosystems of belonging and resilience. Implications urge cultural policymakers to recognize and support fan initiatives as valuable creative micro-economies.\u003c/p\u003e","manuscriptTitle":"Where the Fans Lead: The Grassroots Power of K-Pop Cupsleeve Events in Malaysia","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2025-10-27 18:10:27","doi":"10.21203/rs.3.rs-7683576/v1","editorialEvents":[{"type":"communityComments","content":0}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true}}],"origin":"","ownerIdentity":"acf4149f-c6a4-4d04-86f4-384de73a5e2d","owner":[],"postedDate":"October 27th, 2025","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"posted","subjectAreas":[],"tags":[],"updatedAt":"2026-01-12T15:54:00+00:00","versionOfRecord":[],"versionCreatedAt":"2025-10-27 18:10:27","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-7683576","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-7683576","identity":"rs-7683576","version":["v1"]},"buildId":"8U1c8b4HqxoKbykW_rLl7","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}