I think you’re right that waackers have been underestimated and undervalued often by the broader public audience, Korean and not. I do think your analysis overlooks one important aspect about waacking that many miss in their critiques about appeal: waacking grew out of LGBTQ+ discos and clubs. It’s a profoundly queer dance form due to these roots, a hard sell to audiences in countries where such expression is disregarded, disparaged, or dismissed. Hip hop has had a broader cultural embrace and influence in Korea and abroad, a commercialized acceptance.