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1. 1 media/hpa-banner.jpg 2013-08-13T09:34:09-07:00 Gabriel Peters-Lazaro 3bc3965831120bc593545fef6d0da73657e21ea0 Harry Potter Alliance Sangita Shresthova 7 split 2013-10-23T12:30:38-07:00 Sangita Shresthova 497a02d289c277275bc5ece441097deedf8135e7
2. 1 2013-08-05T12:45:30-07:00 Gabriel Peters-Lazaro 3bc3965831120bc593545fef6d0da73657e21ea0 Ethics Karl Baumann 3 plain 2013-10-21T16:23:46-07:00 Karl Baumann 8f815d830edc63efb3e0a280741f8a0e18e65a8f
3. 1 2013-08-05T12:45:30-07:00 Gabriel Peters-Lazaro 3bc3965831120bc593545fef6d0da73657e21ea0 Ethics Karl Baumann 3 plain 2013-10-21T16:23:46-07:00 Karl Baumann 8f815d830edc63efb3e0a280741f8a0e18e65a8f

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• 1 media/hpa-banner.jpg 2013-08-13T09:34:09-07:00 Harry Potter Alliance 14 plain 2014-06-09T15:45:08-07:00

  About 

  Inspired by "Dumbledore's Army" in the Harry Potter narratives, the Harry Potter Alliance (HPA) has been organizing fans around political and philanthropic issues since 2005. Based on the House Cups in the books, the Alliance is organized according to the "Chapter Cup" model. Tapping fan infrastructures, including podcasts, blogs, Wizard Rock concerts, mp3 networks, and YouTube celebrities, HPA runs its own campaigns tapping its 70 local chapters and supports efforts organized by partner NGOs.

  Harry Potter Alliance Media 

  The Harry Potter Alliance, A History Why I can't go to LeakyCon? Personalizing the experience of an undocumented HPA member.

  Decreasing World Suck 

  Accio Books: LeakyCon Edition

  How to Change the World 

  Books on FIRE

  Andrew Slack Tedx Talk 

  Other Examples of Civic Engagement in HPA:

  Andrew Slack's TEDex Talk on the identification with the orphan vs empire:
• 1 2013-08-05T11:34:46-07:00 “Decreasing World Suck” 9 How Fan Activists Tap Content Worlds Written by Neta Kligler-Vilenchik plain 2014-09-05T15:06:51-07:00 The Harry Potter Alliance (HPA), a non-profit organization established in 2005, encourages civic and political engagement amongst Harry Potter fans by using metaphors from J. K. Rowling’s best-selling fantasy series. When the HPA was established, Harry Potter fandom was at its peak: two of the books had not yet come out, the movie series was just gaining steam, and the fan community was thriving. Yet even a 7-book, 8-movie series that has become a world phenomenon ends at some point. In terms of release of original content, that end came in July 2011, with the release of the last movie in the Harry Potter series. At that time, many feared that the fandom was also dissolving . At Leakycon 2011, a grassroots fan convention, young fans were talking about “the end of an era”, linking the series’ conclusion to their own ending childhood. As one HPA member puts it, with some degree of overstatement, “so obviously Harry Potter is over, sadly” (Daniela, 23). What happens to a civic organization that grounds itself in the connection to a prominent content world, when that content world increasingly loses its traction? The HPA tried to pre-empt this question by launching the “Imagine Better” Project in July 2011. The idea: applying the approach that has proven successful for the HPA—connecting fans around story worlds they love to create real world change -- to collaborations with other fandoms. The HPA can be seen as a prime example of fan activism—harnessing fan enthusiasm toward real world change. Yet to what extent is the example of the HPA a singular one? The Harry Potter phenomenon, after all, has been a remarkable success, with a generation of children “growing up with Harry”. This fan community was recognized as a particularly active and creative one -- among the first major fandoms to emerge alongside the internet and employed its increasing affordances. Moreover, many of the themes of the books seem particularly resonant with real-world issues, complemented by J.K. Rowling’s own history working for Amnesty International. Yet this model is not the only possible approach to fan activism. Consider the example of the Nerdfighters. Nerdfighters are an informal online community that took shape around the YouTube channel of the Vlogbrothers, John and Hank Green. The two brothers upload two videos a week, about “nothing in particular”, though always with their unique look and feel, including a fast pace of speech, multiple jump cuts, and elaborate use of inside jokes and jargon. Nerdfighters are not connected around a fictional content world, but rather around their affiliation with the Vlogbrothers and a broader “nerd” identity, yet the group has developed a shared social agenda, broadly characterized as “decreasing world suck”. Beyond the Vlogbrothers’ own videos discussing current affairs (e.g. “Revolution in Egypt: a 4 minute introduction”), the young participants also are creating and posting their own videos in support of diverse charities and non-profits. The Nerdfighters have shown a capacity to mobilize rapidly around short-term, high impact civic goals: for example, the Foundation to Decrease World Suck raised $483, 296 in two days in 2012.

  This chapter considers several approaches to connecting popular culture and civic engagement, looking across the Harry Potter Alliance, Nerdfighters and Imagine Better. All these groups, while unconventional in their language and civic style, have been successful in deploying popular culture engagement toward participatory politics. In this chapter, we identify different mechanisms through which this deployment works, and what forms of activism it enables, describing the intersections and interactions between fan communities, content worlds, and participatory politics.

  Suggested Activity
• 1 2013-08-05T11:31:48-07:00 “Watch 30 Minute Video on Internet, Become Social Activist” 2 Kony 2012, Invisible Children, and the Paradoxes of Participatory Politics split 2013-08-12T10:29:37-07:00

  In Spring 2012, Invisible Children (IC), a San Diego-based human rights organization, released Kony 2012, a thirty minute video about child soldiering in Uganda. IC anticipated that the video might reach half a million viewers over a two month campaign. Instead, it reached more than 70 million viewers over the first four days and over 100 million over the first week. The video’s rapid circulation was heavily fueled by high school and college students, coupled with church groups.  By comparison, America’s highest rated television shows reach 40-45 million per week, and Hunger Games, the top Hollywood blockbuster that week, drew 15-20 million viewers. Inspired by the video’s own celebration of the power of social media to change the world, IC’s young supporters had demonstrated the capacity of grassroots networks to shift the national agenda.  

  But, Kony 2012 drew sharp criticism from many established human rights groups and Africa experts, questioning everything from IC’s finances to its “white man’s burden” rhetoric. IC was especially challenged for being out of sync with current Ugandan realities and promoting responses some argued might do more harm than good. Critics have seen Kony 2012 as illustrating the kinds of institutional filters and ideological blinders that have long shaped communication between the Global North and South. Kony 2012 quickly became emblematic of a larger debate concerning attention-driven activism.  As the controversy surrounding the video intensified, the filmmaker, Jason Russell, had a highly public meltdown itself captured on video and widely circulated online.  Cut off from the besieged leadership, many young IC supporters lacked the skills and information needed to defend their positions or for that matter, to reflect more deeply about the complexities they were encountering within the larger debate around the campaign. IC’s approach demonstrated enormous “spreadability”  (the capacity to “spread” its messages) but limited “drillability” (the ability to “drill” deep into the issues.)

  Using our four years plus of researching Invisible Children as an extended illustration, this chapter will introduce the core concept of participatory politics. As we do so, we take seriously the critiques leveled against the Kony 2012 campaign, but we also take seriously what participation in the movement meant to young people around the world for whom circulating and commenting on this video might have been their first expressions as citizens. While many “traditional” civic organizations enable youth to participate based on an apprenticeship model, many of our examples here exhibit a more participatory model, in which young people are taking control of and shaping their own modes of engagement. In this model, learning takes place not only vertically, from expert to mentor, but also horizontally, from peer to peer. Such sites often blend the distinction between interest-based and friendship-based networks that have informed other work in the Connected Learning tradition: Young people may enter based on shared interests, may work towards collective goals, yet in the process, they become integrated into rich social communities that often motivate and reward their continued participation.  Invisible Children is a fascinating hybrid of these more established and emergent models: locating many of its chapters in schools and churches, yet creating ample opportunities for learning through participation.