intersectionalfemmesurgence-blog

[intersectionalfemmesurgence-blog]

PART 1: THE INVESTIGATION

Examining SKAM through the intersectional femmesurgence theory.

SKAM is a Norwegian drama series that focuses each season on a specific teenager at Hartvig Nissen School. Its fourth season places a spotlight on the experiences of Sana Bakkoush, a strong, independent, Muslim girl who struggles to balance her Islamic values with the values of her peers in contemporary Norwegian society.

1. Questions to develop and focus examination:

How does the artifact challenge or promote stereotypical characters or relationships?

Challenges the stereotype of the “oppressed” Muslim woman

Displays parts of Islam that promote feminism and empower women

How does the artifact deal with cultural diversity?

Displays cultural diversity almost as a casual reality

Sana and her family are not social pariahs; they blend into society well

Despite how well integrated they are into Norwegian society, they still face microaggressions in society that make them feel alienated on a daily basis

How does the artifact promote, distort or challenge western values?

At a time where nationalism is the name of the game for many political leaders in Western society, Sana’s prime role in SKAM highlights the humanity of first, second, or third generation immigrants who benefit from multiculturalism

Sana’s interactions with her peers and other people in her community highlight the flaws and limitations of Western society when racism and intolerance exist

Positive experiences with her friends also promote modern Western values of tolerance

SKAM recreates the experiences of a new generation of multiethnic women who promote western values while subsequently preserving their cultural values

What values are promoted or denigrated?

Despite being a Norwegian show, SKAM attempts to display both Islamic and Norwegian culture from an unbiased, objective perspective

Promotes and denigrates various aspects of Norwegian culture

In doing so, captures the realities of any culture; culture is not perfect, it is ever shifting and is shaped by societal values

What is the essential morality that is promoted?

The show’s overall messages promote drawing one’s own boundaries of where morality lies

Messages like these are crucial in contemporary society, where the morality and values of various cultures clash in multicultural communities

What fears and anxieties or hopes and desires are promoted?

Sana experiences the quintessential challenges highlighted in intersectional femmesurgence theory (conflicting cultural gender expectations that elicit anxiety in women of multiethnic backgrounds)

Her fears and anxieties attached to xenophobia in Norway (and arguably, any Western society) are justified in season four of SKAM as comments of subdued racism and sexism are directed towards her by both her friends and family

However, these justifications of fear are also combatted by messages of hope and acceptance (ie: Isak and Sana’s interaction - will be explained and explored in the analysis in stage 2)

What is the political climate?

Like much of the Western (and largely non-Western world), Norwegian culture is highly influenced by current events in America

Images of US President Donald Trump in as early as the first scene of the season set the tone of the political climate (xenophobia is common)

In a sociopolitical environment shaped by xenophobia, terrorism, and multiculturalism, women like Sana who physically display their loyalty to a culture outside of the Western sphere face the brunt of societal judgment

What are the standards of beauty and sex appeal?

Despite being a regular teenager with the same desires and emotions as her peers, Sana’s friends often (wrongly) suggest that she does not have to “worry” about boys like they do

Underlying messages suggest that because Sana wears a hijab, she does not conform to their standards of beauty; she is not viewed as desirable

In contrast, if Sana were to remove her hijab to conform to Norwegian standards of beauty, she would be alienated from her heritage culture and would inevitably lose a piece of her personal identity (she draws strength and confidence from her hijab- unlike what Western society often suggests, she is not oppressed by the hijab. Instead, she is empowered by it.)

What are the standards of normalcy or deviance that are depicted?

Normalcy in Norwegian society is depicted as hyper-sexualized, fast-paced; Sana’s peers are deeply involved in partying, drinking, and sexual relationships

In contrast, Sana is expected to carry herself with modesty; her mother constantly reminds her to be careful and hold on to her cultural values despite the norms of stereotypical Western/Norwegian youth culture

Sana, like many women of multiethnic backgrounds, sits at the crowded intersection of two cultures with conflicting gender expectations and values. Unable to conform to both, she is labelled as a deviant in both Islamic society and Norwegian society

She does not completely conform to either culture, and therefore, she is labelled as a deviant in both

2. Read the literature on Generation Z to get a sense of how your generation is defined, as well as how a social scientist approaches pop culture artifacts.

Through the Eyes of Generation Z (Globe and Mail)

Ideas of hyper political correctness are explored in SKAM, when Sana and a friend discuss the importance of asking questions about other cultures at the risk of appearing racist; the conversation reinforces that, in societies where multiple cultures clash, questions and answers can lead to a genuine understanding. By having open conversations about culture, individuals in a multicultural society can avoid dangerous and racist assumptions that lead to social fragmentation.

Riverdale and Twin Peaks Question Whether America Was Ever Great at All (Vanity Fair)

At surface level, Sana’s experiences at the intersection of being a modern Norwegian youth and a devout Muslim seem smooth and problem free; similar to America’s white picket fence + green grass persona;

One can consider and question whether Canada, America, or any other multicultural society is as great and accepting as it seems (when many hybrid youth often feel detached from the culture that surrounds them)

The Oversharing Economy (Walrus)

Similar to ideas in the article about an individual’s outward “mask” (element of symbolic interactionism theories), SKAM explores Sana’s “mask” as a coping mechanism of not fitting into her social community

Notably, lipstick (stereotypically female; perhaps a symbol of her femininity?) can be seen as a projection and defence mechanism related to how comfortable/alienated Sana is feeling in a particular scene; she wears harsh, dark lipstick in situations where she wants to appear strong and unaffected by the judgment and social pressures that surround her; This can be compared to Kelly Oxford’s “jerk mom” online persona; (afraid to be vulnerable?)

Move Over Millennials, Here Comes Generation Z (New York Times)

A social scientist can instantly see that SKAM genuinely attempts to capture life as it is for teenagers growing up in western society in 2017; not only does it capture overarching themes of sexuality, politics, and peer pressure that are ever-present in the lives of modern teens, but it also explores personal issues such as identity, morality, and culture in today’s complex and diverse globalized world.

Technology is an incredibly large part of the characters’ lives in the show; captures the “wired” nature of youth that is investigated in the article

The show explores the inherent struggles of multiculturalism  and depicts it from both sides (Sana’s internal struggle to conform to both culture’s expectations AND her friends’ struggle to understand her culture)

[intersectionalfemmesurgence-blog]

MORE ABOUT SKAM FROM A SOCIAL SCIENCE PERSPECTIVE:

A STUDY IN SOUNDTRACK: HOW SKAM USES MUSIC TO CREATE AN IMPACT

Norwegian singer Amanda Delara’s cover of the popular song “Gunerius” was featured in a major scene in season four of SKAM. Considering that “art is an exile from the status quo”, one may consider the decision to include “Gunerius” in Sana’s season as a deliberate way to challenge current norms in society. When translated, one can easily recognize powerful, thought-provoking lyrics that support the intersectional femmesurgence theory, as well as highlight the social fragmentation in the multicultural and patriarchal society that “Generation Zers” have been born into: Everyone should think and say their thoughts, but being a singer is fatal Mom said: "choose your battles, think ahead, not day by day" For Svein (a man’s name) it's so damn easy, he was born with a safety net. But you, you are the pawn, on a chess board, black and powerless But if you attack, do a good move You can be Queen Few knows that a little girl with faith, She can be great, she can be great and sit on the throne You're afraid of those with veils *(one can interpret this as a hijab), I can say I feel you, I have the same fear of those with polos, scarves and a slick *(privileged men) And everybody's watching, no one dares to say anything That's how the world has become, you have to take some shit, who said it was easy Pulling up a nice car doesn't help I have VISA, passports and ski, but they will see the receipt So I'm dancing on roses, but I have thorns in my feet I'm dancing on roses, dancing on roses I'm dancing on roses, but I have thorns in my feet I'm dancing on roses, dancing on roses BRIEF ANALYSIS___ Considering this from the perspective of a social scientist, one may reasonably connect the lyrics of “Gunerius” to issues of contemporary society. For instance, “so I’m dancing on roses, but I have thorns in my feet”, may refer to the opportunities that western society provides women of a hybrid identity, while simultaneously limiting them due to ethnocentricity and sexism. Moreover, “Gunerius” highlights the disparity in privilege between men and marginalized women in society. Ultimately, the song empowers women to break the boundaries that exist to restrict them in society and become queens of their own throne. The use of this powerful song reinforces SKAM’s ability to create a lasting impact on its viewers by conveying messages that delve into the complexities of intersectional identities in essentially hierarchical western societies. By combining music with the prominent themes in SKAM in such a way, the show accurately reflects contemporary issues faced by Generation Z. For this reason, the show creates an impact that is bound to withstand the test of time.

[intersectionalfemmesurgence-blog]

STAGE 2: THE PRODUCTION

Norway’s new drama series, SKAM, has taken much of the internet by storm. Using its popularity, SKAM addresses various social issues that plague modern society. The series uses each season to put a spotlight on an individual member of the student body at Hartvig Nissen School and addresses the social and political issues that complicate any modern teenager’s day to day life in this decade. Season four of this popular culture artifact is centered around the experiences of a Muslim-Norwegian teenager named Sana Bakkoush. An independent, strong, feminist from the very first season, like many multiethnic females in today’s multicultural communities, Sana’s social experiences and identity may seem uncomplicated at first glance. In season one, two, and three, microaggressions directed towards Sana, often by her own friends, make their appearance. However, similar to how they occur in reality, these (un)intentional snubs and insults are not dwelled on. 

The true impact and struggle of being a multiethnic woman faced with two or more separate sets of cultural expectations is not evident until Sana becomes the focus of season four. In this season, it is clear that she regularly faces the many complexities that come with being a female of a diverse background in western society. By wearing a hijab, Sana physically embodies Islamic culture. At a time when feminist movements are gaining momentum in society, she struggles with the western perception of the “oppressed Muslim woman”. In fact, in one scene, Sana confides in a friend about racist remarks she and her brother receive simply due to the western perception that the hijab is a tool used to oppress women.

Through the experiences depicted in Sana’s day-to-day life, it is evident that, despite considering itself a multicultural society with almost 33% of Oslo’s population being comprised of immigrants (The Norwegian American), Norway still remains ethnocentric. This social fragmentation between first, second, or third generation immigrants and “natives” may also exist in similar multicultural communities around the world, like Canada and the United States of America. Sana’s values constantly clash with those of her Norwegian friends, whose outward and blunt displays of sexuality make Sana feel alienated from the status quo. For this reason, she is typically dismissed as uninterested in matters that most teenagers are invested in, such as relationships, beauty, and attraction.  On the other hand, Sana also struggles to maintain her ties to her heritage culture and Islam. By spending time with a circle of rebellious Norwegian friends, Sana is repeatedly reminded by her mother that she must keep her distance and avoid being influenced by mainstream Norwegian cultural norms.

At the peak of the season, Sana voices her frustrations with being unable to satisfy the expectations of both cultures attached to her identity. By doing so, it is evident that her experiences capture the essence of the intersectional femmesurgence theory: an inescapable sense of alienation, frustration, and loss as a result of conflicting cultural identities. 

Ultimately, if popular culture and television define a generation, SKAM successfully encapsulates many trends that dominate the lives of Generation Z youth even beyond the intersectional femmesurgence lense. As expressed by 17-year-old Anthony Richard Jr. in the article “Move Over Millenials, Here Comes Generation Z”, “America becomes more multicultural on a daily basis ... It’s exponential compared to previous generations”. Surrounded by globalization and immigration even beyond American borders, Generation Z youth are no strangers to cultural clashes and social fragmentation. Immigration today is unprecedented and multiculturalism is a major trend in western societies. Unfortunately, with this reality comes difficulties for multicultural youth who face the consequences ethnocentrism and “single stories” in the communities in which they grow up. In her TedTalk, Chimamanda Adichie Ngozi provides an excellent example of these difficulties when she speaks of the single story her roommate had of Ngozi’s ethnic origin, stating “What struck me was this: She had felt sorry for me even before she saw me. Her default position toward me, as an African, was a kind of patronizing, well-meaning pity. My roommate had a single story of Africa: a single story of catastrophe”. Like the well-meaning characters in SKAM who desperately want to “free” Sana from the shackles of her “oppressive” hijab, Ngozi’s roommate's perspective was limited to her own personal realm of understanding. For many generation Zers who are first, second, or third generation immigrant youth just like Sana Bakkoush and Chimamanda Adichie Ngozi, the dangers of a single story become an every day reality. 

Beyond this central idea, SKAM also reflects the political climate and “hyper political correctness” that are commonplace in the lives of today’s generation of youth. Like much of the Western (and largely non-Western world), Norwegian culture is highly influenced by current events in America). Images of Donald Trump—whose ideologies are not shy of nationalist—make their appearance in the very first episode of the season, setting the tone of today’s buzzing political climate. Unable to ignore the tense sociopolitical environment, SKAM also addresses the importance of asking questions to foster understanding in societies where political correctness is a major trend. The dangers of this trend are highlighted in the Globe and Mail article, “Through the eyes of Generation Z”, where a Generation Zer by the name of Morgan Burton reflects, “Making jokes out of incredibly serious issues in front of someone who has suffered through that is unacceptable [...] But to avoid serious topics at all for fear of upsetting someone means that important issues are often not discussed. The need for trigger warnings and the demand for the utmost political correctness at all times has seemingly only caused more problems, because it leads people to believe that life should always be as gentle, which just isn’t the case”. Sentiments similar to Burton’s are evident in SKAM, when Sana’s friend Isak emphasizes the importance of Sana’s answers to people’s questions about Islam, no matter how ignorant the person asking the question may be. 

This particular scene of SKAM attests to the show’s ability to capture the sensitive issues that dominate Generation Zers lives. Sana, a Muslim woman in a western world, and Isak, a gay man whose perspective was central to season three of the show, can both be considered “deviants” in the society that they belong to. Despite their differences, like many modern teenagers today, Sana and Isak bridge the gap created by social fragmentation, and instead, they form a group-based identity of diverse western youth. According to Durkheim’s theory, deviance results in social change. Considering this, SKAM successfully captures the hopes of Generation Z youth—who having grown up surrounded social, global, and political conflict—will exist as deviants and ultimately create a paradigm shift in society that closes the gaps caused by social, sexual, cultural, and other differences.

When analyzing SKAM as a social scientist, it is also valuable to consider the medium through which the show has gained such popularity around the globe. As stated by high school student Emily Citarella in the article, “Move Over, Millennials, Here Comes Generation Z”, “When I think of Generation Z, technology is the first thing that comes to mind [...] I know people who have made their closest relationships from Tumblr, Instagram and Facebook”. On top of capturing the overarching themes of sexuality, politics, and peer pressure that are ever-present in the lives of modern teens, as well as personal issues such as identity, morality, and culture in today’s complex and diverse globalized world, SKAM captures the essence of this generation with the very platforms through which it reaches its audiences around the globe. Instead of using television to broadcast episodes, the show’s creators chose to make SKAM a web-based series. Furthermore, the show has gained a cult following through Tumblr.com, where Norwegian youth personally translate and post subtitles of the episodes so English speaking users around the world can have access to it. By doing so, the show has joined together members of Generation Z in a movement that exists beyond language barriers. Overall, it is evident that SKAM reflects the major elements of Generation Z even through the way in which it reaches its audience.

Thus, the historical legacy of SKAM will be its distinct ability to capture quintessential elements of Generation Z. The show moves beyond the single story and the repetitive, “safe” narratives that dominate television today. Instead, it encompasses a wide variety of perspectives that exist in the modern multicultural world. SKAM is unafraid of telling the stories of the “deviants” in society. As a result, it is able to accurately reflect the brave and diverse youth that comprise Generation Z. The show possesses a rare ability to capture the environment that today’s generation of youth must navigate through, tackling issues such as cultural intolerance, racism, “hyper political correctness”, censorship, religion, and sexuality. Through its presence and popularity online, SKAM will leave its mark not only through the unique way it is broadcasted and spread from viewer to viewer, but also in regards to its ability to inspire a paradigm shift that combats social fragmentation and brings today’s generation of modern youth together. 

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Adichie, Chimamanda Ngozi. "The danger of a single story." Chimamanda Ngozi Adichie: The danger of a single story | TED Talk | TED.com. N.p., n.d. Web. 05 June 2017. Anderson, Erin. "Class of 2016: Life through the eyes of the cool and collected Generation Z." The Globe and Mail. N.p., 24 June 2016. Web. 05 June 2017. Harrison, Daniel. "Durkheim, Terrorism and Positive Deviance." Academia.edu. N.p., n.d. Web. 05 June 2017. "Is Norway a multicultural country?" The Norwegian American. N.p., 20 Sept. 2016. Web. 04 June 2017. "SKAM English." SKAM English. N.p., n.d. Web. 05 June 2017. Williams, Alex. "Move Over, Millennials, Here Comes Generation Z." The New York Times. The New York Times, 18 Sept. 2015. Web. 05 June 2017.