Abstract: This paper aims to demonstrate how young people are negating the heteronormative social pressures of the dominate public through the creation of online counter-publics that allow them to form, express, and legitimize their LGBTQ identities within a supportive online community. Utilizing social media these counter-publics, which reach beyond physical and social confines, allow individuals to center their personal experiences amongst broader communities, strengthening their influence and prompting social change 
 

Often marginalized groups such as those belonging to the LGBTQ community exist distinctly outside of the dominant public sphere (Renninger, 2014). These groups stand in opposition to social norms and expectations and therefore face difficulties in finding spaces that serve to create subcultural exchange and affirmation (Cavalcante, 2018). In order to create these positive community spaces whilst experiencing marginalization and sometimes social exclusion (Hiebert & Kortes-Miller, 2021), many LGBTQ identifying individuals have turned to online platforms (MacKinnon et al.,2021). As such, social networking sites such as Tiktok have become a space for LGBTQ youth to ‘gather’ and form counter-publics that work to legitimize and support LGBTQ identities. This paper will examine the vital opportunities platforms such as Tiktok provide for lesbian, gay, bisexual, transgender, and queer individuals to connect with others, where LGBTQ identities can be formed, expressed and supported, and where social norms and values can be challenged in a way that contributes to social change (Renninger, 2014) 

 

For LGBTQ youth the social pressures experienced within a heteronormative society often limits their ability to explore, form, and express their identities in an offline space. The identity expression of young people is regularly constrained by their peers and elders in a society where heterosexuality is framed as the norm. Therefore, the formation of online counter-publics creates a space for those that lie outside of the spectrum of socially dictated norms to “map their own ideologies, thoughts, and subjectivities among people, mostly strangers, that share an awareness of similar countercultural referents” (Renninger, 2014, p.1526). This leads to participants on these social networking sites often feeling less pressure to hide behaviors that may contradict social norms, such as those relating to their sexuality and/or gender identity. As such these platforms have been described as ‘backstages’ by some scholars. A term coined by sociologist Ervin Goffman (1963), these are settings in which individuals feel more comfortable letting their guard down in order to expose more of their true selves whilst rehearsing for future ‘front stage’ interactions (Cole, 2019). This framing has been contested by other scholars however, with academics such as Papacharissi (2010) arguing that whilst social media platforms provide individuals with a selection of tools that allow them craft a more creative expression of identity, this often leads them to them exercising an even greater control over the distance between what is performed and what is authentic. However, regardless of whether or not the performances of identity seen on social media platforms should be considered authentic, the affordances of social networking sites undoubtedly enhance the user’s ability to connect with a wide variety of people that have shared experiences (Hiebert & Kortes-Miller, 2021), leading to relationships that are strengthened through the demonstration of empathy and support (Parks, 2010). These relationships further work to legitimize and support the identities of the platform’s users.  

 

Members of the LGBTQ community have the opportunity to utilize social networking features such as hashtags to reach beyond their physical and social confines as marginalized individuals and to create affinity spaces. In 2017 Jackson et al. demonstrated, through the exploration of GirlsLikeUs hashtag on the social networking site Twitter, how and why transgender women have been drawn to the platform to create connections with others in the trans community, to advocate for trans issues and rights, to normalize trans identities, and to celebrate the achievements of trans women (Jackson et al., 2017). Their exploration found that the trans women participating in discourse through the GirlsLikeUs hashtag had created a counter-public environment that not only provides an avenue for intra community support but that also centers and normalizes trans voices through the utilization of Twitter’s technological affordances. This discourse was not only made accessible to transwomen but to a broad audience of users existing outside of the trans community (Jackson et al., 2017), through other hashtags and mentions. Within these affinity spaces those with shared identities may learn from, celebrate, and support each other, whilst centralizing their personal experiences amongst a broader community in order to create social change (Boffone & Jerasa, 2021). 

 

More recently this experience has become evident on the social media platform Tiktok, a video focused social media platform that is distinguished by its powerful algorithm and For You pages (MacKinnon et al.,2021) which prioritize personalization. The platform grants its users with a highly curated experience that lends itself greatly to the exploration of self, the sharing of knowledge, and the formation of community (Craig et al., 2021). These affordances allow for both content creators and their audiences to gather and engage with processes of identity construction in a way that both strengthens Tiktok’s LGBTQ community from within, whilst encouraging users to continue engaging with the intimate and personal processes of self-representation and identity formation (Barassi, 2018). Tiktok’s notably strong algorithm provides its users with the ability to rapidly immerse themselves in virtual communities (Hiebert & Kortes-Miller, 2021). Along with other valuable tools similar to those found on Twitter that help users turn these communities into civil spaces (Jenzen, 2017) that transcend distance and act as informal learning environments for other young individuals as they negotiate their own identities. These spaces, created outside of the conflictual and confining environments that are often experienced by LGBTQ youth within the dominant public (Renninger, 2014), allow for collaborative knowledge co-production that leads towards the de-stigmatization and legitimization of LGBTQ identities. Utilizing platform features such as hashtags, duet and stitches to disseminate content not only through the community itself but to a large global audience (MacKinnon et al.,2021). This large network creates access to resources that aim to support and educate on LGBTQ identities that are not typically found in the institutional spaces young people occupy (Boffone & Jerasa, 2021), and as such help to enact social change through citizen democratization (Vizcaíno‐Verdú & Aguaded, 2022).  

 

One example of an LGBTQ community that has risen from the platform is Queer Booktok. A fraction of the online reading community known as Booktok where LGBTQ identifying individuals have come together, connected through the algorithm and other platform affordances such as hashtags, to discuss and connect over books that reflect their identities. These digital affordances have allowed for the creation of a space where LGBTQ identities are not only legitimized through creative expression and community discussion, but where the experiences of LGBTQ users are centralized within a greater community of book lovers (Boffone & Jerasa, 2021). This has presented young people who may be questioning their own identity with the opportunity to imagine who they could be without the social pressures they may be experiencing offline (Patton & Simmons, 2008). With even the most passive users, such as those only partaking through observing and liking videos, this provides a feeling of connection and belonging to a larger community (Boffone & Jerasa, 2021). The support found across the community encourages all engaged to share their own experiences in a way that works to combat the negative sentiments regarding LGBTQ identities that are present within other dominant publics (Chawansky, 2016), influencing the way in which LGBTQ individuals are regarded in the wider society. This is demonstrated by Boffone and Jerasa (2021) who explored how the affinity space of Queer Booktok has created a safe space, situated within the young adult literary subculture, for young adults to engage with LGBTQ centered texts that are often excluded from schooling environments (Boffone & Jerasa, 2021). Thus, Queer Booktok is creating a counter-public in which users are able to participate in ‘everyday activism’ (Vivienne & Burgess, 2012), influencing social change through digital storytelling and online discussion in a way that legitimizes, supports, and normalizes the LGBTQ identities of young people (Barassi, 2018). 

 

When LGBTQ identifying or questioning individuals are experiencing social isolation these communities appear to be particularly beneficial in supporting and legitimizing their identities. During the initial wave of the COVID-19 pandemic beginning in March 2020, many LGBTQ youths lost access to ‘safe spaces’ and other support networks due to lockdowns and studies show they increasingly turned to online platforms to gather and participate in mutual support. This is supported by Drabble and Eliason (2021), who found that those belonging to sexual minority populations were more likely to experience the negative mental health effects of social distancing compared to heterosexuals, as they are more likely to live alone without family support, and that the pandemic had likely increased the gap of mental health between LGBTQ and cisgender/heterosexual populations. As these social distancing measures and lockdowns were being introduced Tiktok became the most downloaded mobile application, in fact it has been reported that Tiktok received the most downloads of any app in a single yearly quarter ever (Hiebert & Kortes-Miller, 2021). During this time LGBTQ youth flocked to the app, creating networked publics to replicate the safe spaces they had lost access to. This carved out a space beyond their immediate location (Boyd, 2010) to connect with each other when their usual meeting places became inaccessible (Carey, 2020). Whilst interacting heavily with each other’s content in a way that forced their algorithms, they were able to create an ecosystem of content for and by LGBTQ people (Carey, 2020). This also provided a supportive environment during a time so many were facing isolation whilst simultaneously creating a flood of content that supported and legitimized LGBTQ identities.  

 

Social change such as the empowerment of the LGBTQ community is spawned from the kinds of collective and coordinated actions that are currently being witnessed on social media. With a collection of studies beginning to show the power of the collaborative effort of the community to improve their situation of disadvantage through counter-publics such as Queer Booktok and the #Girlslikeus movement. Within these communities individuals are employing the emancipatory affordances of platforms such as Tiktok and Twitter to expose their truths in a way that provides support to others in similar situations, that legitimizes LGBTQ identities and that drives social change through citizen democratization (Vizcaíno‐Verdú & Aguaded, 2022). The content being produced amongst these social media sites by the community, works to combat preconceived prejudices of those identifying within the LGBTQ sphere whilst promoting diversity and understanding (Vizcaíno‐Verdú & Aguaded, 2022). Users engage algorithms and employ features such as hashtags to disseminate their truths amongst themselves and a large global audience (Craig et al., 2021).  

 

Young people are, to some extent, negating the heteronormative social pressures of the dominate public through the creation of counter-publics that allow them to form and express their LGBTQ identities within a supportive online community in which they do not feel the need to hide. Importantly these counter-publics, which reach beyond physical and social confines, allow individuals to center their personal experiences amongst broader communities, strengthening their influence and prompting social change. Providing avenues for the exposure of resources that aim to support and educate on LGBTQ identities that are not typically found in the institutional spaces young people occupy (Boffone & Jerasa, 2021). This becomes particularly important when young people do not have access to other LGBTQ positive communities and safe spaces because of social isolation as demonstrated during the lockdowns of the Covid-19 pandemic. During the pandemic, young people flooded  Tiktok to create communities of subcultural exchange and affirmation when the effects of marginalization were arguably heightened. Using social media to create new support networks whilst enacting social change in the process, through the everyday activism of digital storytelling and active engagement.  

 
 

References 

Barassi, V. (2018). SOCIAL MEDIA ACTIVISM, SELF-REPRESENTATION AND THE CONSTRUCTION OF POLITICAL BIOGRAPHIES. In M. Graham, The Routledge Companion To Media And Activism (1st ed., pp. 142-148). Routledge. Retrieved 9 April 2022, from https://doi.org/10.4324/9781315475059. 
 

Cavalcante, A. (2018). Tumbling Into Queer Utopias and Vortexes: Experiences of LGBTQ Social Media Users on Tumblr. Journal Of Homosexuality, 66(12), 1715-1735. https://doi.org/10.1080/00918369.2018.1511131 
 

Chawansky, M. (2016). Be who you are and be proud: Brittney Griner, intersectional invisibility and digital possibilities for lesbian sporting celebrity. Leisure Studies, 35(6), 771-782. https://doi.org/10.1080/02614367.2015.1128476 
 

Cole, N. (2019). The Difference Between Front Stage and Back Stage Behavior. ThoughtCo. Retrieved 9 April 2022, from https://www.thoughtco.com/goffmans-front-stage-and-back-stage-behavior-4087971. 
 

Craig, S., Eaton, A., McInroy, L., Leung, V., & Krishnan, S. (2021). Can Social Media Participation Enhance LGBTQ+ Youth Well-Being? Development of the Social Media Benefits Scale. Social Media + Society, 7(1), 205630512198893. https://doi.org/10.1177/2056305121988931 
 

Drabble, L., & Eliason, M. (2021). Introduction to Special Issue: Impacts of the COVID-19 Pandemic on LGBTQ+ Health and Well-Being. Journal Of Homosexuality, 68(4), 545-559. https://doi.org/10.1080/00918369.2020.1868182 
 

Emma, C. (2022). TikTok’s Queer “It Girls” Are Creating New LGBTQ+ Safe Spaces. them. Retrieved 9 April 2022, from https://www.them.us/story/tiktoks-queer-it-girls-create-lgbtq-safe-spaces. 
 

Hiebert, A., & Kortes-Miller, K. (2021). Finding home in online community: exploring TikTok as a support for gender and sexual minority youth throughout COVID-19. Journal Of LGBT Youth, 1-18. https://doi.org/10.1080/19361653.2021.2009953 
 

Jackson, S., Bailey, M., & Foucault Welles, B. (2017). #GirlsLikeUs: Trans advocacy and community building online. New Media &Amp; Society, 20(5), 1868-1888. https://doi.org/10.1177/1461444817709276 

 

Jenzen, O. (2017). Trans youth and social media: moving between counterpublics and the wider web. Gender, Place &Amp; Culture, 24(11), 1626-1641. https://doi.org/10.1080/0966369x.2017.1396204 
 

Jerasa, S., & Boffone, T. (2021). BookTok 101: TikTok, Digital Literacies, and Out‐of‐School Reading Practices. Journal Of Adolescent &Amp; Adult Literacy, 65(3), 219-226. https://doi.org/10.1002/jaal.1199 
 

MacKinnon, K., Kia, H., & Lacombe-Duncan, A. (2021). Examining TikTok’s Potential for Community-Engaged Digital Knowledge Mobilization With Equity-Seeking Groups. Journal Of Medical Internet Research, 23(12), e30315. https://doi.org/10.2196/30315 

 

Papacharissi, Z. (2010). Conclusion: A Networked Self. In Z. Papacharissi, A Networked Self : Identity, Community, and Culture on Social Network Sites (1st ed., pp. 304-318). Taylor & Francis Group.  

 

Patton, L., & Simmons, S. (2008). Exploring Complexities of Multiple Identities of Lesbians in a Black College Environment. The Negro Educational Review, 59(3). Retrieved 9 April 2022, from https://www.proquest.com/scholarly-journals/exploring-complexities-multiple-identities/docview/218969895/se-2?accountid=10382. 
 

Renninger, B. (2014). “Where I can be myself … where I can speak my mind” : Networked counterpublics in a polymedia environment. New Media &Amp; Society, 17(9), 1513-1529. https://doi.org/10.1177/1461444814530095 
 

Vivienne, S., & Burgess, J. (2012). The Digital Storyteller’s Stage: Queer Everyday Activists Negotiating Privacy and Publicness. Journal Of Broadcasting &Amp; Electronic Media, 56(3), 362-377. https://doi.org/10.1080/08838151.2012.705194 
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Vizcaíno-Verdú, A., & Aguaded, I. (2022). #ThisIsMeChallenge and Music for Empowerment of Marginalized Groups on TikTok. Media And Communication, 10(1). https://doi.org/10.17645/mac.v10i1.4715 

 
 
 

10 thoughts on “Legitimizing and Supporting LGBT Identities Through Social Media Counter-publics

  1. Michael Farrell says:

    It’s never been more clear that LGBTQ+ community has and expects to have a voice online and I like how your paper outlines the tools that this community uses to achieve that transcend the physical boundaries. As a member of this community it’s true that expression is difficult to gauge in environments of people that don’t like us and I appreciate that you touch on this. Queer identities are absolutely supported and questioned (in a good way) through online communities.

  2. Robyn Lambird says:

    Hi Michael,
    Thank you for your comment. I’m glad that as a member of the community you have found support online. What do you think social media platforms could do better to facilliate these connections and help in creating space for positive exploration?

    • Michael Farrell says:

      I think, as a general personal perspective, they do very well. In any case of protecting online rights for certain groups it can be difficult but in my opinion the accounts i follow are queer friendly. I also follow non-queer conservative channels to know what they are attacking people on, which is not something everyone can handle. So to answer your question, social media platforms could do better to monitor places in which harmful views fester.

  3. Raymond Louey says:

    Hi Robyn,
    Good work, I enjoyed reading your paper.
    How much impact do you think these online publics have had on the physical world? While I agree that these spaces are important, but I worry that too many people have only these spaces to express themselves as apart of the LGBTQ+.
    I would love to hear your thoughts on this piece discussing social media dependency that some LGBTQ+ community members experience
    https://doi.org/10.1016/j.chb.2018.12.011

    • Robyn Lambird says:

      Hi Raymond.
      Thanks very much.
      I think that they have quite a significant impact on the physical world in as much as they give individuals a sense of strength and confidence in themselves which often leads them to advocate for LGBTQ issues offline. I also think it helps to normalize these identities amongst people who may not be against them but might not have a very good understanding of them. I also think they help to give people the language to discuss these identies in a more nuanced way.
      Thank for the article, I’ll give it a read and get back to you 🙂
      Robyn

  4. Jess Gatenby says:

    Hi Robyn,
    Great paper! I really like the different examples of social media platforms you used to show where the LGBTQI+ can create a strong sense of community, especially during lockdown times. In reference to TikTok, I know that the algorithm can be tailored to what you interact with and see, but sometimes it can also be random. From what I have seen on the platform this can be a place where people hide behind fake accounts and spread a lot of hate and negativity; what impact do you think this side of TikTok has on the LGBTQI+ community And their ability to be their true selves free from fear of hate ?

    • Robyn Lambird says:

      Hi Jess,
      Cheers!
      Certainly, as with any social media platform Tiktok has the potential to be used to spread hate. I would like to think though that if an individual is able to embed themselves in a coummunity of support in which they feel respected and valued that perhaps other hurtful comments have less of an effect on them because they know they are appriciated and loved elsewhere. Does that make sense? What do you think?
      Cheers,
      Robyn

  5. Marie Julie Eugenie Lucette says:

    Hello Robyn,
    Im glad to have read your paper, which has so many similarities with mine as I also speak about the trans community on social media platforms, more precisely on TikTok. Your discussion is very insightful and englobes the LGBT+ community at large, which is great ! The examples you provided also showed that the community is making use of these platforms as ‘backstages’ as you mentioned. However, I was wondering, can you share about how is the LGBT+ community represented on social media in your country?
    Thank you.

    Best,
    Julie

    • Robyn Lambird says:

      Hi Julie,
      Thanks very much. Do you have a link to your paper, I would love to read it. I think because social media platoforms allow their users to tell their own stories and to have control over that narrative, the LGBTQ community is representeed fairly well in Australia. However, like with all minorities their is the opportunity to also face hate online. I know many platforms put in place poloicies to try and combat this but I’m not sure it is enough, How about in your country?
      Thanks,
      Robyn

  6. Dakota Hanson says:

    Hi Robyn,

    This was an amazingly written paper, filled with many rich resources and examples – thank you for that!

    You raised many interesting and relevant points throughout but, one concept that stuck out most to me, was the idea of “backstages” and “front stages” as I have never heard these terms before. I feel like they perfectly encapsulate what it is like to be apart of a strong online community – especially on TikTok.

    I definitely agree that the affordances of TikTok (duets, stitches, comments etc.) are fantastic for building community – especially ones aimed at educating, sharing, and supporting. As a regular user of the platform, I have seen many examples of this – but the LGBTQ+ community is definitely one of the strongest I have come across. In saying this, what are your thoughts on the inevitable ‘randomness’ TikTok has within its algorithm allowing ‘haters’ to infiltrate this community? Do you think the community is strong enough to withstand this? Or perhaps the community will eventually crash with continual hatred and content “landing on the wrong side of TikTok” as many people say!

    Let me know your thoughts and once again thanks for the great read!
    Dakota 😁

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