In What Ways Do Migration and New Religions Impact Art and Culture in an Alreadyinhabited Region
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Towards equality: joining forces with arts and culture in the struggle for change in migration societies
Comparative Migration Studies book 9, Commodity number:33 (2021) Cite this article
Abstract
There is a tendency in migration enquiry to view artistic and cultural practices of immigrants and their descendants as well as the research of such practices as less relevant for our agreement of migration. This explains why information technology has long been a neglected surface area of research in the social sciences, equally Marco Martiniello explains in his contribution to this volume. The present article argues that cartoon such boundaries prevents u.s. from seeing the joint aims not only of migration research in the social sciences and the humanities, but too of this research and the arts. It prevents us from seeing the potential of joining forces in our struggle for alter towards more than equal societies. The commodity explains how social science research and artistic and cultural practices can be regarded equally two supplementary methods of struggling for equality that together take a greater chance of reaching this aim. Artistic and cultural practices contribute perspectives for irresolute community narratives to this process of change. These are essential for political and social change every bit they are championed in the social sciences.
Towards equality
There is a line of thought that regards the artistic and cultural activities of migrants and their descendants as providing us with personal insight into migration processes and the lives of migrants in their host countries (Vlasta, 2016). The underlying assumption of such interpretations is that those who take not had these experiences will realise that migrants are non what they are portrayed to be by correct-fly populist parties and the media, and that they therefore will begin to view such ascriptions critically and become more empathetic and tolerant (Nussbaum, 2010, pp. 107–108; Roche, 2004, p. 22). This article does not merits that artistic and cultural products cannot have such effects. Footnote 1 Rather, it claims that they have even more potential. They do not just tell us nearly migration and migrant communities, just they actively intervene in the debates about societies that have increasingly been characterized by migration without having adapted to this new reality. Footnote 2 What the artists demand is not just tolerance or empathy, but equality regardless of origin, organized religion, and ethnicity.
It may seem strange that this is still necessary more than than 70 years afterward the Universal Declaration of Human Rights and the European Convention of Homo Rights take been adopted. However, their adoption cannot exist regarded every bit installing a new regime. In fact, the annunciation and the convention were nothing more utopian visions at the time. Achieving these utopias is an ongoing procedure, as Samuel Moyn has rightly pointed out: '[H] uman rights are not and then much an inheritance to preserve as an invention to remake [ …] if their program is to be vital and relevant in what is already a very dissimilar globe than the i into which it came so recently' (Moyn, 2010, p. 9). The artistic and cultural activities of migrants and their descendants can be regarded as such re-inventions of human being rights in societies that are increasingly characterized by migration. They take human being rights as an inspiration to rethink the world and reimagine communities in a way that reflects this modify. Of course, they are not the only ones doing that. They are part of a larger impetus for alter that is too supported past many migration researchers when they rethink citizenship (Bauböck, 1994) or demand that states live upwards to the promises of liberal pluralism they brand in their constitutions (Foroutan, 2019), to requite just a few examples. However, artistic and cultural activities have their own means of bringing well-nigh alter. They are particularly well suited for reimagining our communities in new narratives that move beyond the idea of homogeneous national identities and cultures. That arts and civilisation were essential in inventing these communities in the nineteenth century, as explained by Anderson (1991, pp. 24–26), implies that they have the potential to effectuate such a change over again. By working towards new community narratives based on the equality of all people, they can counter right-fly populists who aim to reinstall narratives of national homogeneity and thus cement the unequal treatment of those they regard as migrants.
Migration researchers are non necessarily aware that artists and scholars in the humanities share the aim of moving towards equality. This has to exercise with disciplinary boundaries that are non easily overcome, only likewise with the fact that the artistic and cultural activities of migrants are non automatically understood as claims for equality. In fact, sometimes they are interpreted to do the verbal opposite, namely confirm the views of right-wing populists, as the post-obit word of Yahya Hassan's poetry will show. Such contradictory readings are possible because the artists work 'in the twilight of an historic interregnum in which "the one-time is dying and the new cannot be born"' (Mercer, 1994: 2, citing Gramsci). If we read migrants' literary works in the narrative frameworks of homogeneous national identities, we come to a dissimilar conclusion regarding the intention of their words than when nosotros read them as creating a new narrative framework. In other words, we need to follow the artists on a journey during which they teach us a new mode of understanding the world effectually usa. This means leaving behind the old narratives, which is not an piece of cake process because they are deeply ingrained in united states of america. They structure our understanding of the earth without our being enlightened of them (Nünning, 2013). Notwithstanding, embarking on this journey is rewarding because information technology will let united states of america to see our earth in a new calorie-free.
In the following, I volition accept y'all on such a journey using Yahya Hassan's poesy as an case. The primary aim of this endeavor is to provide insight into the reading of his works in the old narrative frameworks of homogeneous national identities and to present methodological means that let us to motility beyond such readings towards identifying the new narrative of identity created in the text. However, this is non the but comparative aspect of this commodity. The larger aim is to highlight the comparable aims of artists, migration researchers in the social sciences, and migration researchers in the humanities concerning equality. It is important that we understand each other improve then that nosotros can join forces in making our results publicly heard, an attribute that definitely needs more attention as Steven Vertovec (2020) points out.
Yahya Hassan: beyond limiting community narratives
The poet Yahya Hassan was born into a Palestinian family in Aarhus, Denmark, in 1995, and died at that place in 2020. Hassan became known to a broad readership far beyond Denmark in 2013 when the reputable Danish publishing firm Gyldendal launched his poetry drove entitled YAHYA HASSAN. Footnote 3 The volume is a poetic exam of the author's life until the point of publication. Amongst others, information technology deals with paternal violence in his childhood, his feelings of not belonging in the kindergarten and at school, his plow to misdeed and drugs in adolescence, his experiences of violence in state institutions, his turn from beingness a victim to existence a perpetrator of violence, the specific situation of Palestinian exile, and the hypocrisy of his tearing and criminal male family unit members who claim to be religious Muslims. The book is one of the most popular verse collections ever published in Denmark, with more than 100,000 copies being sold in a country where an edition of 400 is normal for verse volumes (Hoffmann, 2018, p. 142). The interview the writer gave in advance of the publication – entitled 'I'm fucking mad at my parents' generation' (Omar, 2013) – has become 1 of the most frequently shared texts in Danish online history (Gokieli, 2015, p. 210). Hassan likewise received massive attending abroad, in newspapers such as The Guardian, New York Times, Wall Street Journal, Spiegel and Frankfurter Allgemeine (Hoffmann, 2018, p. 151).
The main reason for this outstanding attending was the controversial discussion concerning migrants, peculiarly Muslims, sparked by the book and by the interview preceding its publication. This give-and-take was not new: it started in Europe with the response to Salman Rushdie'southward The Satanic Verses in 1988, became prominent afterwards 9/11, and was fanned by the Mohammed caricatures in the Danish daily paper Jyllands-Posten in 2005 (Rytter & Pedersen, 2013, pp. 2309–2310). Many commentators welcomed Hassan'due south book, arguing that finally an author provided a realistic insight into the Muslim community, a footstep long prevented by political correctness they argued. Among these were many right-wing voices who felt confirmed in their views of Muslims as lazy and criminal, only as well left-wing voices who claimed that the volume exposed the failure of the Danish authorities. Both were opposed by commentators, particularly of Muslim origin, who felt offended by the poems. The about extreme reactions were death threats and attacks on the writer. Others, such every bit the Swedish poet Athena Farrokhzad, accused Hassan of providing right-wing populists and their supporters with further arguments against migrants and particularly against Muslims (for an overview of the debate run into Hoffmann, 2018, pp. 142–144; Sochańska, 2017).
Even this short insight into the debate shows that nigh commentators regarded the author and his work as representative of a community. This is a typical way of reading minority fine art, especially when only a few people from a specific ethnic or religious group accept go visible as artists (Mercer, 1994). This has been the case in Denmark, where literature written by migrants and their descendants was deficient before Hassan'due south book was published (Frank, 2013). Enquiry has not freed Hassan from this 'burden of representation', as Kobena Mercer called it. Even though the scholars who have discussed his book are disquisitional of such representational interpretations, they even so focus on markers of indigenous and religious difference in his piece of work, such as his positioning as an 'immigrant writer' (Gokieli, 2015) as well as the role of Islam (Hoffmann, 2018) and of 'perkerdansk', a Danish speech variety mainly used by migrants and their descendants, in his poetry.
I argue that YAHYA HASSAN does not primarily deal with a migrant community or a religious group. On the contrary, the book is Yahya Hassan's poetic autobiography, as he explicitly states in the last verse form: 'HERE IS MY STORY!' (Hassan, 2013, p. 98). It is a merits for individuality, personal liberty, and freedom of expression of an individual primarily regarded as part of a group both by his family unit and by those Danes who exercise non perceive him as Danish. These human rights are constitutionally guaranteed to him just as to any Danish citizen, but the concrete and symbolic violence he had had to suffer from his early childhood onwards shows that this guarantee was aught more an empty promise. Moreover, making use of his right of speech does non mean the same as information technology does for other writers in Denmark, as the fierce discussion of his book illustrates. Hassan was aware of this inequality when writing his book. In the last verse form, he explicitly points his readers to his stigmatisation as an writer of immigrant origin: 'ME I JUST Brand A Cliché/ Then At that place/ A CLICHÉ/ FOR YOUR Lilliputian Platitude Caput' (Hassan, 2013, p. 107). Footnote iv The phrase MIG JEG (Me I), typical for the Danish variant spoken past Arabic youths, is used more than than 150 times in this final poem of the volume (Grydehøj, 2020, p. 157). This dual reference to the self constitutes a poetic device to limited both the merits for individuality and, equally rightly suggested by Grydehøj, 'the carve up of the poetic voice into an object (me) and a subject field (I) [ …] alluding to the structure of the immigrant voice from both internal and external positions' (Grydehøj, 2020, p. 157).
How did I attain the estimation that the book is a merits for individuality and freedom? Of course, the most important method is a close reading of the literary work, a long-established method in literary studies. Even so, the close reading of an author of immigrant origin demands further skills. The interpreter needs to move beyond othering the author, across regarding her/him first as a descendant of immigrants and every bit a Muslim, without withal ignoring the fact that s/he is a descendant of immigrants and a Muslim. Emmanuel Lévinas has suggested that the best method of avoiding the objectification of the other is to arroyo her/him in conversation:
To arroyo the Other in conversation is to welcome his expression, in which at each instant he overflows the idea a idea would carry away from it. […] But this also means: to be taught. The relation with the Other, or Conversation, is a non-allergic relation, an ethical relation; just inasmuch as it is welcomed this conversation is a educational activity [enseignement] (Levinas, 1961, p. 51).
Researching migration through the artistic and cultural practices of migrants and their descendants is ideal for approaching the other in conversation because it is the migrant who speaks first through a poem, a theatre play, a song, or a film. The researcher responds. This response should not start out from whom nosotros think the other is, but from what due south/he has to say, what s/he tin can teach us. In line with this, the primary objective is not to understand the other, but to change our agreement of the earth through confrontation with the other. This process of change has implications for the style in which we conceive not only migration and migrants, only also community and social justice.
In concrete terms, this ways that we should not first our close reading with elements that confirm our preconceptions, but choose a starting point that surprises us, that challenges our preconceived ideas. There are many such starting points in any literary text – in fact as many as there are readers. I will here present the 1 that was decisive for my reading of the verse collection YAHYA HASSAN equally a claim to individuality and equality: his explicit reference to the Norwegian writer Karl Ove Knausgård in the two poems 'LEGAL NIGHTWORK' and 'ARRESTED' (Hassan, 2013, pp. 49, 53). The offset deals with a menstruation in the poet's life in which he helped a cousin evangelize books at dark, with the advantage being the returned books, amongst these 'USELESS Offense NOVELS AND ONE KNAUSGÅRD' (Hassan, 2013, p. 49), an explicit hint at his literary interests. In the second, he clarifies that the one Knausgård is a book of his world-famous autobiographical novel Min kamp (My Struggle) published between 2009 and 2011 (Hassan, 2013, p. 53).
The novel may in many respects be regarded equally an inspiration for Yahya Hassan's volume of verse. My Struggle is a detailed account of the writer'south life from his early childhood to the writing of these books and their publication. Even so, the point is non to narrate a life, as Arnaud Schmitt and Stefan Kjerkegaard have rightly suggested, merely to characterize a self (Schmitt & Kjerkegaard, 2016, p. 555). Toril Moi has interpreted this narrative search for a cocky every bit being substantially about overcoming alienation past breaking with the image others have of him as well equally with their internalised judgements. The result is freedom:
His masterpiece finished, he is costless; now, finally, he can be himself. Here we should remember that being oneself is not to claim a specific identity. On the contrary, it ways finally to be able to escape the split between cocky and identity, to escape alienation and be able to appoint completely in ane'due south deportment, to alive without internalising the judgments of others (Moi, 2018b).
Knausgård'due south struggle for freedom is ruthless (Moi, 2018a). Information technology takes no account of the feelings of family and friends who might be hurt past his openness about himself and his thoughts about them. This ruthlessness has sparked enormous discussion in Norway and across, simply dissimilar in the case of Hassan, it has not been read every bit providing us with realistic insight into the Norwegian customs. Moreover, it has not kept reviewers and scholars from reading the work as footing-breaking in literary terms.
Yahya Hassan adopts Knausgård's idea of freeing the self from the paradigm of others, but in his instance, this is a more complex attempt since it does non only concern his family and friends, merely all those who borrow upon his private rights by imposing a community identity on him. This becomes obvious in the showtime poem entitled 'CHILDHOOD'. The poem provides us with insight into the physical and symbolic violence that Hassan has experienced since his early childhood (Hassan, 2013, p. 3). It starts with a harrowing description of 5 children waiting in a row for their father to beat them. We see their tears and how they wet themselves out of fear and pain, we hear how the cane strikes their easily or, if they withdraw these, other parts of their bodies: 'A BLOW A Weep A NUMBER thirty OR 40 OR SOMETIMES 50'.
The poem compares this concrete violence with other instances of violence present in their young lives. The first is the violence in the Gaza strip shown on Al Jazeera while the children are beaten by their male parent. The images of 'HYPERACTIVE BULLDOZERS AND ANGRY BODYPARTS' are interpreted from the family's Palestinian perspective taken over by the young male child: 'IF THE ZIONIST DOES Non RECOGNIZE OUR EXISTENCE/IF WE EXIST AT ALL'. The discussion OUR in the starting time sentence refers to the Palestinian community identity imposed on him by his family in Denmark and in refugee camps in Lebanon where he spends his holidays. The Nosotros in the second sentence is no longer just a reference to this group, but expresses what this inheritance means for the children. They grow upwardly with a community identity that roots them in non-being. Unlike other imagined communities, the Palestinians do not accept a founding myth that explains how they came into beingness. Rather, their customs narrative starts with a catastrophe, their expulsion from Palestine in 1948, an event they call al-Nakba. This myth of 'un-becoming', equally Anja Kublitz calls it, structures Palestinian lives upwardly to their present in Denmark, besides considering they feel that they will never be accepted equally Danish: 'Whereas al-Nakba, the figure of un-becoming, is reproduced on the level of the individual as the disintegration of the subject [ …], what Palestinians in Kingdom of denmark simultaneously experience is that the most obvious alternative path towards condign, namely becoming Danish, is blocked' (Kublitz, 2015, p. 244).
The verse form CHILDHOOD describes how this feeling of not-beingness is transferred to the children of Palestinian refugees born in Denmark both through the violence of the male parent and through the Palestinian community narrative. It ends past showing that such narratives can be equally subversive for the evolution of an individual identity equally are the blows of the father. The concluding verses highlight how both institutions most influential in the early on development of a child into an individual – family and school – impose community narratives that annihilate the beingness of Hassan and his siblings as multilingual individuals. These institutions demand that they ignore 1 one-half of their personality and divide their selves into beingness one person at school – 'AT SCHOOL Nosotros ARE NOT ALLOWED TO SPEAK ARABIC'– and some other at home: 'AT HOME We ARE Non ALLOWED TO SPEAK DANISH'. The last judgement describes the upshot of these narratives in the same terms as the blows of the father: 'A Accident A Weep A NUMBER'. The symbolic narratives that force the children to align with either the ane or the other community breach their correct to individuality and equality simply as much as the blows of the father do. Footnote five The narratives do not brand room for these individuals.
Hassan presents his criticism of tearing community narratives in a poetic fashion that questions the idea of homogeneity underlying these narratives. This is less obvious in the printed texts than in the public performances of his work (for excerpts from a performance see Wagner, 2014). Thomas Hoffmann points out that many critics have noted the closeness of Hassan's reading style to Qur'anic recitation. As an integral part of Islamic ritual praxis, this tradition was known to the writer from early childhood. Even though organized religion meant little to him, Islamic recitation has been an important source of inspiration – he fifty-fifty described it as his faith. He listened to Qur'anic recitation as others mind to music and even recorded himself reciting a surah of the Qur'an (Hoffmann, 2018, pp. 148–149). Footnote 6 Hoffmann himself, even so, is not convinced that this tradition has been an inspiration for Hassan's poetic style: 'I take not nonetheless come up across whatever Standard arabic-Danish-speaking Muslims who have characterised Hassan's reading style as Qur'anic in terms of style' (Hoffmann, 2018, p. 148). He believes that the roots of this way lie in European and Danish poesy performances (Hoffmann, 2018, p. 149). I believe that Hassan draws on both traditions. He intentionally mixes Qur'anic recitation and European and Danish poetry performances so that they become unrecognizable as dissimilar individual traditions. What emerges is a new poetic form that allows Hassan to express his self. In add-on, this new grade illustrates that these traditions are not mutually exclusive, as claimed in homogeneous narratives of national identities and cultures. They tin easily be merged into a new narrative of private identity. Why should the aforementioned non agree true for narratives of community?
Towards joining forces for change in migration societies
The poetry book YAHYA HASSAN is a claim for equality of an private whose rights were infringed upon non only by his violent father, but also by community narratives that do not make room for his individual beingness. At the aforementioned time, the author creates a new poetic form that merges elements from these customs narratives. As such, the volume may serve as a model for reimagining European communities in narratives that no longer regard these and other differences within Europe as mutually exclusive, but merge them into a new vision for Europe. Both Bauböck and Foroutan have stressed the importance of such a narrative change for political and social change. To cite Bauböck: 'How migration changes citizenship depends to a large extent on how states and their citizens perceive migrants' (Bauböck, 2002, p. 2). For such perceptions to change, our understanding of societies needs to alter, as Willem Schinkel explains: 'It is fruitful to focus on the imaginary character of "society." That is non to say that the being of guild is fiction, but that society exists as fiction. A order is a artistic fiction, a map that claims to exist a territory' (Schinkel, 2017, p. 222). If 'club exists equally fiction', equally Willem Schinkel put information technology, then turning to literature and arts for imagining new narratives of society is a logical step forward in reimagining societies. In other words, artists and migration researchers in the humanities and the social sciences are working on a process of modify that needs both sides to be successful. Why not join forces in this process to finally make this change happen? Ideally, this would mean more interdisciplinary piece of work that combines these complementary perspectives in joint projects. Even so, a first step towards this ideal would be to regard the position of the corresponding other as relevant for installing equality in migration societies.
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Notes
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Marco Martiniello's contribution to this special outcome is an first-class example of the importance of such approaches.
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For this understanding of art I draw on Bourdieu's statement that the relative autonomy of art and literature has led to artists gaining a say in public debates as intellectuals (Bourdieu, 1996). That this has been an important factor for migrants and their descendants condign writers in many dissimilar contexts is illustrated in the overviews gathered in the volume Immigrant and Ethnic-Minority Writers since 1945 (Sievers & Vlasta, 2018).
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Not only the title, just the whole book is written in capitals. This is a stylistic device, a '"shouting" and "loud" typography' (Hoffmann, 2018, p. 142), 'a visual outcry of acrimony, a declaration of protest' (Gokieli, 2015, p. 217). I therefore also utilize capitals when citing the book.
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I here apply the English translation by Grydehøj (Grydehøj, 2020, p. 160). If not mentioned otherwise, all translations are mine.
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For an analysis of the violent graphic symbol of community narratives from a social-science perspective, see Schinkel, 2017.
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For the recording run across Hassan, 2014.
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Acknowledgements
I would like to give thanks my student Inés Noé for raising my interest in the writer Yahya Hassan with her stimulating analysis of Hassan'due south reception in the High german context. I am likewise indebted to two anonymous reviewers whose detailed comments greatly helped me to nuance and clarify my argument. Terminal but not least, I am grateful to Hanneke Friedl for her careful linguistic editing of the text. All remaining errors and inconsistencies are, of course, mine.
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Sievers, W. Towards equality: joining forces with arts and culture in the struggle for change in migration societies. CMS 9, 33 (2021). https://doi.org/10.1186/s40878-021-00249-10
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DOI : https://doi.org/10.1186/s40878-021-00249-x
Keywords
- Yahya Hassan
- Equality
- Imagined communities
- Clearing
Source: https://comparativemigrationstudies.springeropen.com/articles/10.1186/s40878-021-00249-x
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