In the analysis of the Kony 2012 video phenomenon, Jenkins et al explore the conundrums evident in participatory politics. Created by an activist group called Invisible Children (hereafter referred to as IC), "Kony 2012" was created as a viral call to action intended for people already familiar with IC and their cause. Through the internet, "Kony 2012" reached an unpredictably vast amount of people. Far outside its intended audience, "Kony 2012" suffered a massive context collapse, and IC received scathing criticism from all sides. Based on the "Kony 2012" fiasco, Jenkins et al explore the resulting paradoxes or participatory culture.
One of the paradoxes is comprehensible vs. complex stories. IC was criticized for being too simplistic about the nuanced sociopolitical climate in Africa. The lack of complexity, however, is part of what made "Kony 2012" an internet sensation. The oversimplified narrative lead to less audience critical engagement, but it presented the story in a way that thousands of people could identify with. Instead of seeing a complex social issue, audiences saw a critical injustice that they could actively involve with.
People's understanding of the "Kony 2012" video may have incited interest in the cause, but it wasn't the only paradox present in IC's campaign. Jenkins et al also discuss the fight between activism vs. entertainment. As scores of people clicked "like" and shared the video on Facebook, the line between political participation and personal entertainment blurred. Were they sharing the video because they were passionate about the message and cause, or because they engaged emotionally with the video itself? Were they actually contributing to a cause, or engaging in simple "clicktivism" in order to assuage their consciences? "Kony 2012" acts as an example of society engaging with social issues because the presentation--not necessarily the issue itself--moved them to action.
The line between entertainment and politics has blurred even more since the "Kony 2012" incident. The most recent U.S. election was fraught with people watching presidential debates with popcorn in one hand and a phone to tweet from in the other. Social media sites flooded with humorous and emotional commentaries on caricatures of the presidential candidates. The sensationalized aspects of journalism, internet coverage, and social media involvement turned politics into a Bachelor-esque celebrity deathmatch, of sorts. My own experience with the election saw people backing out of mainstream political participation because the 'genre' of political entertainment disgusted them so thoroughly.
The entertainment-ification of politics is not, however, entirely a bad thing. Jenkins et al discuss the blossoming of fannish politics in today's participatory culture. In response to the disgust-inducing mainstream political rhetoric, youth have created groups like the Harry Potter Alliance (HPA) and Nerdfighters, through which they can engage with politics on their own terms and in their own genre. Jenkins et al outline a circuit model of engagement, which says that fannish political communities have shared values, a sense of affinity, knowledge and competencies, practices, identities, and discussions. This new mode of political participation shares a striking resemblance to political parties. Unlike traditional political involvement, however, Fannish involvement is free from the negative connotations and includes the unironic, selfless passion of the participants.
With the oversimplification, sensationalization, and genre-esque villainization of political candidates, it's no wonder that youth are looking for a more fulfilling way to engage with activism. The role of new media in this shift of participatory politics is vital. Social media disintegrate physical and economic barriers between people, allowing those with similar interests to find each other. Fan culture used to be confined to high school clubs and reading groups, but internet platforms joined individuals into large, mainstream "fandoms." These fandoms act as breeding grounds of passion and interpersonal connection, and they validate individual dedication for social ideals and previously niche political interests.
Whether youth involve thorough internet groups, the shared passions of fannish politics, or "clicktivism," new media has provided a breeding ground for new forms of political activism. Although subject to harsh criticism by analogue generations and a feared reception by political and anthropological scholars, those involved in internet activism are participating in politics the best way they know how.
Jenkins, Henry, Sangita Shresthova, Liana Gamber-Thompson, Neta Kligler-Vilenchik, and Arely M.
Zimmerman. By Any Media Necessary: The New Youth Activism. New York: New York UP,
2016. Print.
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