Love Jihad in Contemporary Art in Norway
Abstract
:1. Introduction
2. Contexts: Love-Jihad Discourse on the Far Right
The image [of the blonde woman] visualizes the different fears that cut across the trope of ‘Muslim rape’ in transnational, exclusionist spaces. In circulating this picture, the bloggers imagine a shared White community in danger, symbolized by the injured, blonde, Swedish woman, who is in need of global protection … Paradoxically, however, the figure of the Swedish woman also symbolizes emancipation, feminism, and female agency at the frontline of society, which the bloggers consider to be destructive to (White) masculinity.
3. Interfaith Love in Contemporary Art in Norway
3.1. Disgraced
- He doesn’t understand you. He can’t understand you.
- He puts you on a pedestal.
- It’s in your painting.
- Study after Velázquez.
- He’s looking at the viewer—that viewer is you. You painted it. He is looking at you.
- The expression on that face?
- Shame. Anger. Pride.
- Yeah. The pride he was talking about.
- The slave finally has the master’s wife.
- Emily: You’re disgusting.14
- Amir: I don’t know if you’ve read any of my letters…. There’s a lot you were right about me.
- I’m finally seeing what you were seeing.
- I’m finally understanding your work.
- Emily: My work was naïve.
- Amir: No, it wasn’t. Why are you saying that?
- Emily: Because it’s true.
- Amir: God. If you had any idea how sorry I am.
- Emily: I know.
3.2. Karpe
- Det var en britisk jente, 19 år gammel
- Som jobbet på settet til Lawrence of Arabia
- Så kommer det en dude ridende forbi, spottet henne
- “Assalamu alaikum”
- Også viste det seg at det var kongen av Jordan
- Så hun satt seg bakpå, de giftet seg
- Hun skiftet navn til Muna Al-Hussein
- Og ble prinsesse av Jordan.23
- Jeg skiter i om du er Tshawe25 eller Vinz eller Nico26
- (Er det du som skal med dattera mi på kino?)
- Du er kanskje kul i dag, men hun gifter seg med Kygo27
- (Er det du som skal med dattera mi på kino?)
- Har du hijaben i baksetet, skal hun bli muslim nå?
- (Er det du som skal med dattera mi på kino?)
- Jeg er ikke rasist, men skal liksom liksom-passet ditt bety noe?
- (Er det du som skal med dattera mi på kino?)28
3.3. Norskish
4. The Reception of Disgraced and the Heisann Montebello Project
Akthar also writes that if the play is not as current as it once was, it is more relevant than ever before, because the world changed after 9/11. Nevertheless, for other minorities the trivialised racism has been rather gruesome much longer than from 9/11 onwards. In this country, it concerns for example the Samis, the Taters, and the Jews. It seems odd to write this on the 18th anniversary of the tragic event of 9/11, the one Amir in the play has to admit that he ‘is proud of’.(Levin, 12 September 2019)34
5. Conclusions: Genealogical Thinking
Funding
Institutional Review Board Statement
Informed Consent Statement
Data Availability Statement
Conflicts of Interest
1 | Scholarship on Islam in Europe has primarily studied Islam’s presence in Western Europe after World War II, seeing it as a consequence of labour migration, refugee or asylum seeking, and family reunion programs (Nielsen and Otterbeck [1992] 2015). Emphasis has been put on normative religious practice and the establishment of Muslim institutions in Europe (for example, Vogt 2008; Laurence 2012), on gender, identity, and generational issues (for example, Roald 2001; Jacobsen 2002; Bøe 2019). The study of everyday religion among Muslims displaying different levels or forms of religiosity and different degrees of affiliation to institutionalized religion has also been in focus (for example, Brubaker 2013; Dessing et al. [2013] 2016; Sandberg et al. 2018; Østberg 2003). In addition, scholarship on Islam in Europe has increasingly explored Islam’s historical presence on European soil or cultural encounters between Europe and the Islamic world (for example, Tolan et al. 2013; Dakhlia and Vincent 2011, 2013). There exists an important literature on Christian, Jewish, and Muslim communities in medieval and early modern Iberia, and several studies are aimed at establishing the historical presence of Muslims in different European nation states or the relationship between that nation state and the world of Islam (for example, Coller 2011; Simonsen 2004; Sorgenfrei 2018). Finally, scholarship of the last ten years on Islam in Europe has increasingly addressed the issue of art and popular culture (Peter et al. 2013; Jouili 2013, 2019). |
2 | For studies on popular culture in the Muslim world at large, see Van Nieuwkerk et al. (2016) and Van Nieuwkerk (2012). |
3 | University of Oslo, https://www.hf.uio.no/iakh/forskning/aktuelt/arrangementer/studentarrangementer/2019/fobier-og-forfolgelse.-antisemittisme-og-islamofob.html, 17 October 2019, accessed on 28 October 2021. |
4 | For an introduction to Karpe’s work, see Holen (2018) and Karpe Diem and Akam1k3 (2013). For a study of the reception of Karpe’s music among Muslim youth, see Jacobsen and Vestel (2018). |
5 | Among a long list of prestigious prises, Karpe has been awarded Spellemannsprisen, the most important Norwegian music prise for Heisann Montebello (best album) in 2016 and for SASPlus/SASPussy (best album) in 2019. For an updated list, see https://no.wikipedia.org/wiki/Karpe_(musikkgruppe), accessed on 1 November 2021. |
6 | |
7 | As explained to me by one of the authors in a conversation in Oslo the autumn of 2019. |
8 | Ragnhild Johnsrud Zorgati and Cecilie Endresen. Mobile Muslims and Invisible Islam. University of Oslo, https://www.hf.uio.no/ikos/english/research/projects/mobile-muslims-and-invisible-islam/, accessed on 28 November 2021. |
9 | Both groups were public when Fangen conducted her non-participant fieldwork in 2017, but have since become closed. Their open nature was an asset from Fangen’s point of view, as she wanted to shed light on the mainstreaming of anti-Islamic ideas more than delving into the hidden corners of the dark web. |
10 | This quotation brings to mind the plot of the Danish novel Det europæiske forår [The European Spring] by Kaspar Colling Nielsen (2017): Denmark purchases land in Mozambique where they establish a colony for deported Muslims. The State has given its Muslim inhabitants the choice between assimilating into ‘Danish’ neighborhoods, leaving the ghettos of the big cities, or deportation to Mozambique. Those who refuse assimilation are expelled from Denmark. |
11 | I cite Akhtar’s original in the main text and the Norwegian translation in the footnotes. |
12 | |
13 | American short hand for White Anglo-Saxon Protestants associated with the privileges historically held by this group. |
14 | ‘Han forstår deg ikke. Han kan ikke forstå deg. Han setter deg på en pidestall. Det vises i portrettet. Studie etter Velazquez. Han ser på betrakteren—og den betrakteren er deg. Du malte det. Han ser på deg. Uttrykket i ansiktet hans? Skam. Sinne. Stolthet. Ja. Stoltheten han snakket om. Slaven har endelig fått sin herres kone. Emily: “Du er faen meg drøy”’ (Scene 3, p. 109 in Norwegian manuscript, translated by Agnes Banach). |
15 | Akhtar comments upon his play in the newspaper Aftenposten: ‘Forestillingen “Krenket” er mindre kontroversiell, men mer relevant. Dramatiker svarer anmelder’, Aftenposten, 10 September 2019, accessed on 28 October 2019, https://www.aftenposten.no/meninger/debatt/i/awL1rA/forestillingen-krenket-er-mindre-kontroversiell-men-mer-relevant. |
16 | |
17 | Mirrer (1996), using examples from the Crown of Castile and Pitt-Rivers (1977), citing Genesis, also demonstrate how men from the stronger group take in women from the weaker one. |
18 | Tunisia lifted the ban on intermarriage for women in 2017 and was the first country in the Middle East and North Africa to do so. Rana Jawad, Tunisian Women Free to Marry Non-Muslims, BBC News, 15 September 2017, accessed on 1 November 2012, www.bbc.com/news/word-africa-41278610. |
19 | Scholars debate whether modern forms of racism and Islamophobia can be traced back to the imaginary constructions surrounding purity of blood regulations in early modern Iberia. See for example Hering Torres (2011) and Soyer (2012). |
20 | ‘“Jeg vet ikke om du har lest brevene mine … Det var mange ting du hadde rett i om meg. Nå ser jeg det du ser. Endelig forstår jeg arbeidene dine”. Emily: “Arbeidene mine var naive”. Amir: “Det var de ikke. Hvorfor sier du det?” E: “Fordi det er sant”. A: “Herregud, Emily. Hvis du visste hvor mye jeg angrer” E: “Jeg vet det”’ (p. 132 in Norwegian manuscript). |
21 | ‘Dodi and Diana in that car’. I cite the original Norwegian in the main text and give the English translation in the footnotes. |
22 | “Just who is Princess Muna Al Hussein of Jordan?”, Salon Privé Magazine, 1 June 2021, accessed on 10 August 2021, https://www.salonprivemag.com/princess-muna-al-hussein-of-jordan/. |
23 | ‘There was this British girl, 19 years old; Who worked on the set of Lawrence of Arabia; Then a guy comes by on a horse, spots her; “Assalamu alaikum”; And then it turned out that it was the king of Jordan; So she mounted behind him, they got married; She changed her name to Muna Al-Hussein; And became princess of Jordan’. My translation. |
24 | ‘You are all of the same stuff/Everyone gets fucked/Mullah, mullah, mullah, mullah, mullah’; ‘Picking fruit in our garden/You’ll never be Scandinavian/NAVer, NAVer, NAVer’. Translation by Therese Sjøvoll. The term NAVer refers to a person who is dependent on public welfare. It is constructed from NAV, the abbreviation for the Norwegian Labour and Welfare Administration. |
25 | Tshawe Baqwa, internationally acclaimed rapper from the rap-duo Madcon. |
26 | Vincent ‘Vinz’ Dery and Nicolay ‘Nico’ Sereba from Holmlia i Oslo form the successful rap-duo Nico & Vinz. |
27 | Artistic name of Kyrre Gørvell-Dahll, here incarnating the successful Norwegian artist of Norwegian descent. |
28 | ‘I don’t give a fuck if you’re Tshawe or Vinz or Nico/(Are you the one taking my daughter to the movies?)/You might be cool today, but she’s marrying Kygo/(Are you the one taking my daughter to the movies?)/Do you have the hijab in the back seat, is she gonna be Muslim now?/(Are you the one taking my daughter to the movies?)/I’m not racist, but is your pretend-passport supposed to mean anything?/(Are you the one taking my daughter to the movies?)’. Translation by Therese Sjøvoll. |
29 | Karpe underlines in several interviews that many of their texts are inspired by discussions and commentaries on the net. |
30 | ‘utover at alle har definisjonsrett til sin egen krenkelse’: Mona Levin, ‘Identitetspolitikk, religion og fennikelsalat. Flat replikkføring hindrer dypere forståelse av allerede utdatert moderne drama’, Aftenposten, 2 September 2019, accessed on 28 January 2021, https://www.pressreader.com/norway/aftenposten/20190902/281960314427184. My translation. |
31 | Ulrik Imtiaz Rolfsen, ‘Anmelder: Publikum reagerte feil!’ Aftenposten, 3 September 2019, accessed on 28 October 2019, https://www.aftenposten.no/meninger/debatt/i/Joq9nb/anmelder-publikum-reagerte-feil-ulrik-imtiaz-rolfsen. My translation. |
32 | ‘Vet ikke Ulrik Imtiaz Rolfsen at jøder ikke spiser svin? Vet han ikke at mange jøder med russiske og polske navn byttet til mer tyske eller amerikanske navn, slik pakistanske Amir i stykket bytter til det indiske Kapoor, for å bli mer spiselig i offentligheten?’ Mona Levin, ‘Har dramatikeren fasiten, Rolfsen?’, Aftenposten, 5 September 2019, accessed on 28 October 2019, https://www.aftenposten.no/meninger/debatt/i/dOpV6z/har-dramatikeren-fasiten-rolfsen-mona-levin? My translation. |
33 | ‘Vi befinner oss nå i en verden som er helt formet av begivenhetene vi pleier å vise til som “9/11”’: Ayad Akhtar, ‘Forestillingen “Krenket” er mindre kontroversiell, men mer relevant. Dramatiker svarer anmelder’, Aftenposten, 10 September 2019, accessed on 28 October 2019, https://www.aftenposten.no/meninger/debatt/i/awL1rA/forestillingen-krenket-er-mindre-kontroversiell-men-mer-relevant. My translation. |
34 | ‘Akhtar skriver også at om stykket ikke er så aktuelt som det var, er det mer relevant enn noen gang, fordi verden er endret etter 9/11. Men for andre minoriteter har den trivialiserte rasismen vært ganske grusom mye lenger enn fra 9/11. I dette landet gjelder det for eksempel samer, tatere og jøder. Det føles merkelig å skrive dette på 18-årsdagen for den tragiske hendelsen 9/11, den Amir i stykket må innrømme at han “er stolt av”’; Mona Levin, ‘Vranglesing og oversetterfeil’, Aftenposten, 12 September 2019, accessed on 28 October 2019, https://www.aftenposten.no/meninger/debatt/i/qLXRjw/vranglesing-og-oversetterfeil-mona-levin. My translation. |
35 | Ervin Kohn, “Kjære Karpe Diem: Spill inn Attitudeproblem på nytt.” Aftenposten, 18 April 2016, accessed on 2 November 2021, https://www.aftenposten.no/meninger/debatt/i/4dq7R/kjaere-karpe-diem-spill-inn-attitudeproblem-paa-nytt-ervin-kohn. |
36 | Karpe Diem feat Izabell, Bendik, Stella Mwangi, Silvana Imam, Julie Bergan and Christine Dancke—Attitudeproblem, NRK P3 Remix, 29 April 2016, accessed on 1 November 2021, https://www.youtube.com/watch?v=03-8exSu6jg. |
37 | In the history of European nationalisms, women incarnated the nation, metaphorically in figures such as the French ‘Marianne’ or the Danish ‘Mother Denmark,’ painted by Elisabeth Jerichau-Baumann in the second part of the 19th century, practically in the idea that women, through childbirth and child raising formed the future of the nation. This idea was not only popular among 19th century Europeans, but also favoured by Arab nationalists at the turn of the century. In their defence of women’s right to education, the rationale was that women needed education in order to be good mothers. Only educated women would produce qualified future citizens who could oppose European colonialism and build free and independent Arab and Muslim nations (Zorgati, forthcoming). |
38 | Julian Pitt-Rivers analyses Genesis 34:1–26 in his tracing of the ban on intermarriage for women. See Pitt-Rivers (1977). |
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Zorgati, R.J. Love Jihad in Contemporary Art in Norway. Religions 2021, 12, 1106. https://doi.org/10.3390/rel12121106
Zorgati RJ. Love Jihad in Contemporary Art in Norway. Religions. 2021; 12(12):1106. https://doi.org/10.3390/rel12121106
Chicago/Turabian StyleZorgati, Ragnhild Johnsrud. 2021. "Love Jihad in Contemporary Art in Norway" Religions 12, no. 12: 1106. https://doi.org/10.3390/rel12121106