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Here, we employ this perspective—known as the distributed model of creativity (Glaveanu, 2014)—to analyze how young people used online creative participation to express political stances and communicate with peers around the 2016 U. With the development and proliferation of online platforms that facilitate widespread creative participation, much of this activity now takes place online, where barriers to entry are lower and creators can reach relevant audiences and form social connections (Jenkins, Purushotma, Clinton, Weigel, & Robinson, 2006).Youth are particularly active in these online spaces (Ito et al., 2009; Ito et al., in press).We do so through an in-depth qualitative content analysis of three cases, representing different genres of online creativity: Scratch (games and animations), Archive of Our Own (AO3) (fan fiction), and hit RECord (collaborative multimedia production and remix). In each of our three case studies, we analyze all election-related material in this two-week period, identifying three emergent forms of creative expression: (re)claiming agency towards the political process, providing social support or a distraction from politics, and (re)imagining the political.As our time frame, we choose the two weeks (8–22 November 2016) immediately following the 2016 U. election in which Donald Trump was elected as the 45th U. Based on this in-depth empirical endeavor, we posit online distributed creativity as a significant, emerging form of youth political expression, thus making theoretical contributions pertinent to various literatures in the field of communication, including youth and media, online participation, and political communication.Implications for youth and media, online participation, and political communication are discussed, thus further theorizing the connections between creativity and political expression.In both online and offline contexts, creativity—generally defined as the process that leads to original and effective products (Runco & Jaeger, 2012)—means more than the individualized production of ideas.

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Within this sociocultural view, creativity is framed as a social, dialogical, and cultural process, where creators act in relation to others, using the symbolic and material means of culture. Creativity can serve as a powerful outlet for political expression; indeed, as the history of artistic practice illustrates, some of the most salient political statements across time and place have taken the form of creative artifacts.Residents of Taehong, Samjiyeon and Baekam counties were disappointed the rations had not increased from previous years.Ordinary North Koreans felt they were not being sufficiently compensated for "year-round back breaking labor." Potatoes are not a popular food in North Korea, according to Daily NK's sources, because the edible tuber isn't compatible with other Korean dishes, like kimchi, and North Koreans associate the food with malnutrition.Recent decades have seen growing attention to youth creative participation online, as the internet has facilitated greater and wider participation (Ito et al., 2009; Ito et al., in press; Jenkins, Ito, & boyd, 2015).Of particular relevance here is the notion of participatory culture (Jenkins et al., 2006), defined as a context in which barriers to artistic expression and civic engagement are relatively low, where members feel a strong sense of support to create and share content, and feel that their contributions are valued. (2015) referred to participatory culture as one where individuals and groups “have the capacity to express [themselves] through a broad range of different forms and practices” (p.




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