Rewriting The narrative : Power of a fangirl

Written By : Shyla Srivastava (2nd year) Department of Applied Psychology

Fandom is not just about admiration; it’s about identity, belonging, and the human need to connect with something greater than ourselves." 
                                                      ~ Dr. Donna Rockwell

When you hear the word “fangirl,” what is the first thing that comes to mind? Obsessive, fanatic, irrational, emotional? The term is often used dismissively, implying that passion for an artist, group, or celebrity is a sign of immaturity. However, this dismissive view overlooks the multifaceted and transformative nature of fangirling. 

The intense passion and dedication inherent in fangirling serve as catalysts for personal growth, motivation, and self-improvement for many people across the globe. Today, the concept of fangirling spans a diverse range of fandoms : from music to sports , each fostering unique communities and cultural impacts. In the music industry, fan groups have redefined engagement by supporting their favorite artists through creative expressions and organized collective efforts. 

Similarly, sports fangirls challenge conventional stereotypes by injecting passion and fresh perspectives into athletic fandom, thereby reshaping traditional narratives around female engagement in sports. This evolution underscores a broader cultural shift, where the term "fangirl" is increasingly seen as emblematic of commitment, resilience, and a transformative connection to one’s idols and communities. 

This article explores the psychology behind fangirling, its impact on personal identity and social connections, and the ways in which it fosters creativity, resilience, and empowerment. It also focuses on how fangirls challenge outdated stereotypes, reshape cultural narratives, and contribute meaningfully to the industries and communities they are passionate about.

Historical Roots of Fan Culture

"Fan culture" has its roots in the 19th century. The German poet Heinrich Heine originally used the phrase "Lisztomania" in the 19th century, and the French indie pop group Phoenix has since popularized it. Lisztomania was the intense fan frenzy for Hungarian composer Franz Liszt in the 19th century. It was reported that these fans would try and steal his personal effects–including strands of his hair. Women would reportedly cheer, scream, swoon over the Hungarian composer at concerts, completely captivated by his presence. 

However, the initial fans are believed to have been the Bobbysoxers. Frank Sinatra supporters were known as "bobby soxers” in the early 1940’s and 1950’s. They were young ladies who, by donning bobby socks and shorter skirts (just beyond ankle length), were defying the then-dominant fashion trends, earning their name. 

This period also witnessed a lot of men and grown-ups being critical of the female followers, dismissing their actions as "childish" and "immature." They were also upset that Sinatra was being emphasized when they believed that everyone should have been concentrating on World War II. 

The same stigma that accompanied "Lisztomania" and “bobbysoxers” still surrounds contemporary fandoms. Consider  "Blinks" for Blackpink, "Swifties" for Taylor Swift, "Beliebers" for Justin Bieber, and any other fandom that is controlled by women, obstinate, euphoric, and passionately dedicated. Dedicated fandom is now disparagingly linked to "Stans," a concept that was made famous online recently and is based on Eminem's 2000 song "Stan," in which he coined the term "stalker fan."

Media and Stereotypes: How Television and Online Narratives Shape Perceptions

“As Henry Jenkins famously noted, ‘fans are not simply consumers of media; they are producers, engaging in a creative reconfiguration of the texts that inspire them.’ 

Let's analyze societal perceptions and preconceptions about fangirls in more detail. Our everyday lives are shaped by television, which is a very powerful source.Television, as a pervasive force in shaping societal norms, plays a crucial role in molding our perceptions of fans. Historically, TV has often portrayed female fans as overly emotional, irrational, or immature—depictions that contribute to enduring stereotypes and narrow understandings of what it means to be a passionate fan.

Gerrard, Y (2017) reveals that negative stereotypes about female fans continue to permeate online communities surrounding teen television shows. His study on Pretty Little Liars, Revenge, and The Vampire Diaries fandoms examined how labels like "groupie," meaning obsessive fan behavior, "fan," basically describing enthusiasm and "shipper", less form of engagement etc are used to create divisions, often targeting younger female enthusiasts. 

Social media has become an omnipresent force in contemporary society. In this digital landscape, social media not only facilitates communication but also plays a pivotal role in shaping public perceptions. Social media immerses fangirls in a constant stream of updates, fostering intense emotional investment and pressure to stay engaged. 

The competitive fandom culture, where likes and streams equate to loyalty, can lead to stress, burnout, and obsessive behaviors. Simultaneously, negative stereotypes portraying fangirls as irrational or excessive contribute to self-doubt and hesitation in expressing their passion. This combination of pressure and scrutiny can diminish their sense of identity and well-being.

Sexism and misogyny exist in both male and female-dominated fandoms, but female fandoms face greater marginalization and harsher scrutiny. Research suggests that while men are often associated with socially accepted groups or conceal their participation in female-dominated spaces, women are more frequently pushed to the margins.

Fangirls are often labeled as overly emotional, while fanboys are seen as knowledgeable enthusiasts, a bias that diminishes female enthusiasm as less substantive. This systemic shaming of female-dominated fandoms highlights the enduring gender bias within fan culture.

Social Identity Theory : Building Community and Self-Esteem

‘since the identity the fans gain from supporting one soccer team is often durable once a choice has been made, their identity and affiliation to that sports team translate to how they behave when there is a game, how they dress, and how they speak’

(Chadborn, Plante & Reysen, 2016).

Social Identity Theory proposed by Tajfel and Turner suggests that individuals develop a sense of self based on the groups they belong to, such as national, religious, political, and occupational groups. This social identity provides a sense of place and position in the world, fostering a feeling of belonging or being part of an "us".

In Jo, K. (2024) study, a fandom on a Chinese social media platform illustrates how fans build a shared identity around their idols, drawing strength from collective expressions of empowerment. Fans celebrate moments that align with their values, such as standing up against disrespectful treatment or promoting messages of confidence and independence.

Social identity theory posits that individuals derive self-esteem and a sense of identity from belonging to groups. In fan culture, being part of a supportive fan community allows individuals to experience emotional empathy and mutual validation. Rather than being seen as overly emotional, fangirling emerges as a transformative process that empowers individuals to redefine themselves and challenge societal norms.

Emotional regulation 

Passionate fandom fosters emotional regulation by offering a safe space for people to express and acknowledge their feelings. By participating in shared passions, whether through live events, fan art, or online forums, fans establish a space for the healthy processing and expression of their feelings. This communal engagement not only offers social support but also helps individuals transform negative feelings into positive feelings, leading to improved mood, reduced stress, and a stronger sense of belonging.

In the autoethnographic study by O’Hagan (2023), the Rory Gallagher Instagram Fan Community (RGIFC) is presented as an example of how fans transform personal challenges into sources of strength through collective engagement. The study documents a personal journey from 2020 to 2022, employing the CHIME framework—Connectedness, Hope, Identity, Meaning, and Empowerment to mark pivotal turning points in overcoming mental health challenges. 

The study underscores that engaging with music whether by listening, playing, or actively participating in fandom discussions—can significantly enhance mood, boost self-esteem, and foster meaningful interpersonal connections.

Concert Experiences: The Affective Power of Intermedial Play

Large-scale pop concerts exemplify the affective power of intermedial play, creating overwhelming sensory experiences that unite fans in shared emotional regulation. These events blend live music, performance, and visual media , such as dynamic on-stage videos and carefully choreographed segments to form a multisensory spectacle.

Fans actively engage by singing, dancing, displaying handmade signs and banners, and wearing specially chosen or custom-made outfits, all of which channel intense emotions into a collective expression.For example, fans utilize synchronized light sticks and follow the group's dancing during K-pop concerts, which serves as a cathartic outlet and reinforces a sense of shared identity. 

The recent coldplay concert is a marvelous example of not only the commercial potential of concerts in India but how the music, lighting and colours can become an overwhelming sensory experience, leaving attendees feeling a range of emotions and also generate a sense of oneness that people end up leaving the grounds and travelling in public transports, singing in synchrony.

By employing cutting-edge cinematic techniques that replicate the live event and constantly switch between the stage and the audience, concert films further expand this experience by simulating the communal atmosphere of a theater. In addition to increasing the performance's emotional impact, this media blending helps fans feel more connected and emotionally balanced. 

Taylor Swift's Eras Tour movie was made available in cinemas for multiple weeks, providing an opportunity for Swifties who couldn't attend the live concert to participate in the collective emotional journey. This inclusive approach not only broadens access to the live experience but also reinforces the powerful sense of belonging and communal resilience among fans.

Parasocial Identity theory 

‘A group of friends, all avid fans of a popular K-pop group, regularly meet to watch their favorite music videos and discuss the latest news. This shared fandom, fueled by parasocial relationships with the group members, strengthens their social identity as a group, leading to a deeper sense of belonging and shared experience.’

Parasocial identity theory, based on Horton and Richard's 1956 work, suggests that people form one-sided connections with media figures. These parasocial ties enable fans to relate to and find inspiration in their heroes, which promotes a feeling of empowerment and community within the fangirling community. These connections provide emotional support, stimulate resilience, and personal development, rather than reducing emotional involvement.                  

Nichakon Parivatphun (2020) examines how BLACKPINK influences the makeup habits of Thai female fans. The study used ten in-depth interviews and a survey of 204 participants in a closed Facebook group, employing the Attitude/Motivation Test Battery (AMTB) to assess attitudes and motivations. 

Findings show that BLACKPINK's makeup styles influence fan behavior by shaping identity, boosting confidence, and fostering social connections. Fans imitate these looks as a form of self-expression and support, enhancing self-esteem while also strengthening community bonds and friendships.

However, these connections can also have negative effects. Over-identification with idols may lead to unrealistic beauty standards, excessive spending on products to emulate their looks, or emotional distress when idols fail to meet fan expectations. The pressure to conform to an idealized image can cause insecurity, while intense fandom dynamics may encourage obsessive behavior and social comparison.

Breaking Barriers in Sports Fandom: Challenging Gender Norms

Sports fangirls, in particular, challenge entrenched gender stereotypes by actively participating in arenas long dominated by male fans. Their enthusiastic involvement not only demonstrates that female passion for sports is equally intense and informed but also contributes to broader gender discussions within sports culture.

Valkonen, A. (2013) studied gender and sports fandom by analyzing 449 posts from a female-dominated online football community during the 2010 FIFA World Cup. The findings reveal that sports fangirls face persistent gender biases, often being marginalized and having their dedication questioned. Despite displaying equal or greater knowledge than male fans, they are frequently perceived as less committed or “real” fans.

Many male fans fear that women's increasing presence in sports fandom encroaches on their "male space," which compounds stereotypes that erroneously suggest female fans view male players in a sexual manner or are interested in their physical features than in genuine sporting passion .As a result, female fans often feel pressured to demonstrate their expertise and dedication in order to be seen as genuine fans.

There are disadvantages to both sports and music/K-pop fandoms. Stereotypes nevertheless exist; sports fans are frequently wrongly classified as being too sentimental, and the positive aspects of these networks can be weakened by toxic behaviors like gatekeeping, harassment, and exclusion.

Music fandoms often center on creative expression, collective activities like streaming parties and fan art, and a focus on the artistic and aesthetic aspects of performance. In contrast, sports fandoms are typically driven by competitive spirit and team loyalty, emphasizing the thrill of athletic performance, the drama of competition, and the shared joy or agony of supporting a team through victory and defeat.

Fangirling in India: Beyond Narratives

Fangirling has found its expression in India through both music and sports, two cultural pillars that captivate millions. One prime example of fangirling in Indian music is the fervor surrounding Diljit Dosanjh’s concerts. Diljit, a popular punjabi singer's concerts, such as the one held at the Jio Gardens in Mumbai in 2018, provide an excellent example of fangirling behavior. Fans flock to these events in large numbers, with many attending multiple shows. For instance, a fan shared a video on Twitter during Diljit's 2019 performance in New York, where the crowd is seen chanting his name in unison, illustrating a classic instance of fangirling (Gupta, 2020). The experience is amplified through fan-generated content on social media, where hashtags like #DiljitDosanjh and #DiljitNewYork trended after his concerts, showing how fans use digital platforms to further their emotional connection and express their excitement.

In the realm of Indian sports, particularly cricket, fangirling manifests in a similarly intense form, albeit with a different dynamic due to the high visibility of athletes. The fervor surrounding Indian cricketers, especially players like Virat Kohli, has seen fans exhibit behaviors that align with classic fangirling. For instance, during the 2016 T20 World Cup, when Kohli delivered a match-winning performance against Australia, fans were visibly ecstatic, not just for the win, but in their admiration for his skill and leadership (Sood, 2016). A notable instance occurred in 2018, when Kohli's fans, particularly female followers, flooded Twitter with posts expressing admiration for his athleticism and style, making him not only a cricketing icon but a cultural and fashion symbol (Reddy, 2019).

Conclusion 

Fangirls are often dismissed as obsessive, but their passion fosters personal growth, motivation, and community. Media reinforces stereotypes of them being overly emotional, while sexism further marginalizes female fandoms. 

Yet, fans actively reshape media, finding empowerment through shared experiences whether in the emotional regulation concerts provide or in sports fangirls challenging gender biases. Despite facing gatekeeping and exclusion, fangirls continue to enrich culture and redefine narratives.

Personally, being a fangirl has been such an adorable and heartwarming experience. It has given me a sense of belonging, knowing that there are people out there who share my excitement, my joy, and my love for the same things. There's something really special about connecting over mutual passion : fangirls are vibrant, resilient, and honestly, just the best.

References : 

Gerrard, Y. (2017). Derision, guilt and pleasure: teen drama fandom in a social media age (Doctoral dissertation, University of Leeds).

Gupta, A. (2020). Diljit Dosanjh: From singer to global icon. Music and Culture Journal, 8(3), 22-29.

Jo, K. (2024). Women in Korean Pop Fandoms: Experiences of Coping and Resilience (Doctoral dissertation, Fuller Theological Seminary, School of Psychology).

O’Hagan, L. A. (2023). Music for mental health: An autoethnography of the Rory Gallagher instagram fan community. Journal of Contemporary Ethnography, 52(5), 633-663.

Parivatphun, N. (2020). The study of makeup of Thai female fans influencing from K-POP idols: Blackpink.

Reddy, K. (2019). Virat Kohli and the rise of cricket fandom in India. Journal of Sports Studies, 15(1), 45-58.

Seggie, I. Fantastic: Exploring the Intermedial Productivity of the Fangirl.

Sood, R. (2016). The phenomenon of fangirling: The case of cricket and popular culture in India. Indian Journal of Media Studies, 12(4), 88-102.

Valkonen, A. (2013). We fangirls need our fanservice. A study on the topics of discussion in a predominantly female online football community. Master’s Thesis. University of Jyväskylä, Department of Languages.

Written by: Shayla Srivastava

Edited by:

Kaashvi Magan (Deputy Senior Content Team Coordinator)

Patmateertha (Associate Editor)