Fandom & fan activism: Truly toxic or considerably constructive?
How many of us have firsthand or secondhand experience of the conversation below?
X: What music do you like?
Y: I’m a fan of One Direction’s stuff!
X: Oh, you’re one of them [scorns]
And by them, X probably meant:
We sort of understand what warranted X’s negative reaction when it was discovered that Y was part of the One Direction – or Directioner – fandom. But before we dive into why one would rather get maced in the face than to admit to being part of a fandom, and whether it’s really all that bad, let’s first begin by answering the most basic question: What is a fandom?
The term fandom is popularly used by the younger generation as means of identifying oneself with a social group that is a fan base of any entertainment content in the form of TV shows, films, novels, music, games or even celebrities. Thus, to be part of a fandom of something, one must first be a fan. But in today’s world populated with people who are quick to judge, fans have become marginalized and are used to being mocked by the media. To be a fan now, is to be shadowed by social stigma that paints you (if you’re a fan) as brainless and borderline crazy; something to be avoided like a plague.
However! Digital Communities MDA20009 and I are here to present fans and fandom to you in a new and more positive light; to show the other side of fan culture that usually goes unnoticed or blatantly ignored – the side of it that views these media consumers as proactive, critically engaged and creative instead of over-the-top, obsessive and people-who-have-too-much-time-on-their-hands.
To understand this, we must first look into the participatory culture present in fan-fictions, fandom web forums and when game companies give public access to their design tools to source for programmers (Jenkins 2006). Members of this culture is defined by Jenkins (2006) as someone who’s comfortable with artistic expressions and civic engagement; supportive of the creation and sharing of one’s creations with others; has experienced some kind of informal mentorship whereby knowledge from those most experienced are shared with novices; believe the significance in their contributions; and feel a degree of social connection with other members. It should also be noted that contributions do not have to be provided by every member, but they should believe that they are welcomed to contribute when ready and that their contributions will be valued and appreciated.
Based on this fundamental fandom concept, it would seem that the roots of fandom are pretty wholesome and inclusive.
Yet, people still view fandom as the black hole that created a participation culture practiced by problematic people who attract other problematic people into the picture. They forget that participation is an action that has existed long before computers or the internet was created, and that their creation merely enabled people to take this action across the physical plane onto the virtual plane to be developed into fandom’s current participatory culture. Moreover, instead of focusing so religiously on how fandom is stupefying the next generation, more attention should be directed at how its participatory culture are opening doors for the same generation to forge their creativity, develop certain skills and knowledge and boost their self-confidence – all of which would benefit these youngsters in the future as working adults.
And to those who have doubts about how fandom actually affords all these benefits, Henry Jenkins got you covered.
In his blog about the participatory culture, he highlighted that people part of a fandom are already in this self-enrichment process through affiliations in online communities, expressions from producing new creative content, collaborative problem-solving with others to complete tasks and develop new knowledge, and circulations which shape the flow of media (such as blogging).
Besides, who’s to say that fandom’s contribution to a fan’s growth as an individual stops there? Who’s to say that fans can’t achieve higher levels of self- and societal awareness and become activists themselves?
And thus on the 12th day of Christmas, God gave us fan activism.
Based on its definition by Jenkins, fan activism can be understood as a form of civic engagement and political participation emanated from fan culture and are basically fan-driven efforts to engage and address civic, social and political issues. Using superheroes or fictional elements from novels for activism is a classic example of fan activism whereby people looking to promote social change are utilizing the emotional and imaginative properties of popular culture to connect more intensely with their supporters (Jenkin & Shrestovva 2012).
And because popular culture – especially blockbuster franchises – are known and favored by many, it can serve as a common reference point for both protesters and casual observers and be used as an effective community-bridging tool for organizing collective movements (Jenkin & Shrestovva 2012). Additionally, this would make activism work more appealing and approachable to the younger generation who are usually excluded from traditional, ‘adults-only’ campaigns especially since social media is heavily used for for this new kind of social campaign.
But fans don’t usually wake up one morning and think, “I’m going to fight sex trafficking today.” What links fans with actual social or political activism and motivates them to be part of an activist group is the subject matter of each fandom aka the singers, the actors, the celebrities.
Some examples of celebrity-inspired fan activism for social causes include Alyssa Milano’s constant encouragement of fans to embrace female power and to stand up against sexual harassment; how Mark Ruffalo has never stopped being vocal on issues like sexual harassment and fracking in hopes to inspire fans to fight for the same causes; and BTS’ collaboration with UNICEF for an anti-violence campaign to raise funds and awareness among fans towards creating a safer, violence-free world for children.
Although there have been murmurs of discontent from fans who resist the idea of mixing something as serious as activism into simple, care-free fan activities, it is hard to forgo the beneficial elements of fandom in paving a path to social activism and influencing fans to use it for analysis, networking, mobilization and communication related to campaigns for social causes, which is ultimately a big plus for societies in general.
Hence, my verdict on the topic:
Fandom and fan activism are constructive when it is viewed and understood from an objective, unbiased perspective. Moreover, I personally think that fandom comes very close to being the perfect instrument in facilitating fights for social causes because as mentioned in my previous blog about social media’s role in the activism world, individuals with fame written in their résumé aka celebrities tend to make good symbols of movements because of their widely established identity.
These famous faces – the subject of fandom – who are already admired, respected and idolized by many make good leaders in uniting people among a socially diverse constituency to come together for a cause. They can easily serve as the guitar pick used to struck the emotional chord of their fans, the face of movements that activists have spent most of their life fighting for, and the key to reaching millions and millions of people that can be made aware of the rising social issues that they otherwise would remain ignorant about....that is, if these celebrities are willing to stand in the limelight and establish themselves as a true blue activist, just like good ol’ Mark Ruffalo.
So, to all famed people out there: stay informed, stay aware, be a Mark Ruffalo (minus the anger issues).
Jenkins, H 2006, ‘Convergence culture: Where old and new media collide’, NYU Press.
Jenkins, H & Shrestova, S 2012, ‘Up, up and away! The potential of fan activism’, Transformative Works and Cultures, Vol 10.
Jenkins, H 2006, ‘Introduction: Confessions of an Aca-Fan’, Fans, Bloggers and Gamers: Exploring Participatory Culture, NYU Press, New York, pp. 1-6.