A stroll down the avenues of the Xinyi or Ximending shopping districts in Taipei will yield quite a few busking shows ranging from musical performances to terrifying acrobatics. And if it’s a nice Saturday, there will be at least 10 amateur dance troupes vying for a performance spot to film their next “K-pop in Public” cover for YouTube. These dance troupes are not buskers. They do not request permits, ask for money, or even interact with crowds. While they help to define the spaces in which they perform, they are more a part of a global community associated with the “K-pop in Public” trend – in which dance troupes ranging from amateur to semi-professional imitate K-pop dance videos in public spaces for online consumption. While the use of “irl” spaces in these videos affects the physical community that they are a part of similar to buskers, the larger impact lies elsewhere – a sort of grassroots cultural export that brings the place into online spaces and communities and highlights aspects of local culture even as it participates in and reifies a global phenomenon. This paper will utilize studies on place and space, globalization and glocalization, mediascapes, performance practice, identity, and Taiwanese and Korean studies to argue that Taiwanese youth are not only reifying Taiwanese identity and creating locality through their participation in “K-pop in Public”, but are also protecting and future-proofing Taiwanese identity as artifacts of both identity and place continue to travel ever more broadly through a globalized mediascape.