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In the last ten years or so, interest among the Japanese in their Korean neighbour has increased significantly. Yet, before the Korean Wave hit Japan in the early 2000s, Kusanagi Tsuyoshi, member of popular Japanese boy-band SMAP, had already debuted and gained popularity as Chonangang, his Korean alter-self. From releasing a Korean pop-music single to interviewing South Korean Presidents on Japanese national television, it is undeniable that Kusanagi (and Chonangang) has brought Korea closer to the hearts of the Japanese. In this paper, I argue that Kusanagi's performances of and as Chonangang create a polyglotic, hybrid identity that functions as a 'third space' through which notions of an underlying, essential Japanese (and Korean) identity can be destabilised. Beyond mere entertainment, Kusanagi's adoption of an identity position that is neither Japanese nor Korean, yet also both Japanese and Korean, enables the articulation of difference and hybridity which, I contend, has direct relevance to Japan-Korea and Japanese-resident Korean relations. [ABSTRACT FROM AUTHOR]