Outsiders? A sociological study of Norwegian artists with minority background

Abstract

Why are there relatively few successful artists from a migrant background in Norway? Based on a study of artists of known migrant backgrounds, we explore this question from the artists' points of view. We analyze both their social and cultural background, and the mechanisms of exclusion and inclusion at work in Norway's art world, and especially the interaction between the two. We have concentrated on the dramatic arts: theater and dance. The article presents a theoretically informed analysis of the qualitative material using the sociology of art on the one hand and the sociology of migration and ethnic relations on the other. Further, the empirical analyses are in constant dialog with other Norwegian studies of the art field and the artists themselves. The article presents original findings on the relationship between barriers in young migrants' backgrounds and impediments to entering and navigating at the field of dramatic arts.

The autonomous world reversed: comparing liberal policy and autonomy in the performing arts

“…The Norwegian system therefore creates relatively strong borders between the insiders and the outsiders, between permanently employed actors and freelancers (Bergsgard & Vassenden, 2015;Mangset et al, 2016).…”

Too Muslim or not Muslim enough? Exploring identity negotiations for women visual artists in Australia

“…This is not an uncommon experience whether Muslim or non-Muslim, male or female and part of a long history of the artist as an economic outsider often dependent on patronage (Bain, 2005; Becker, 2008; Murray and Murray, 2006). Most participants are from migrant or first-generation backgrounds and stressed that this added ‘pressure’ (Bergsgard and Vassenden, 2015; Idriss, 2016). Sarah reflected:I think I suppose there’s an overwhelming pressure that one might feel with migrant parents who came with nothing – that I need to make money, I need to make my parents proud….…”

“…Other markers of success as perceived by artist families were ‘finishing school’, ‘going to uni’, ‘getting married’ and securing a ‘home’ (Asma, Sana, Yasmin). In general, the participants’ families stressed the importance of having ‘independence’, ‘stability’ and ‘security’, leading to greater social mobility (Ahmad, 2001; Al-Deen, 2019; Bergsgard and Vassenden, 2015).…”

“…The perceived ‘risky’ nature of the artist career expressed by many participants and their families is not unfounded (Bergsgard and Vassenden, 2015; Le et al, 2014). In a time of Covid-19, the arts sector is even more precarious as a career ambition in Australia and elsewhere.…”

Learning How to Work in the Arts Field in Portugal: A Biographical Approach to the Migrant Artists’ Trajectories

“…Bergsgard and Vassenden [5] explain the low number of artists from ethnic minorities in Norway by describing the arts as a highly institutionalized field in which particular social and cultural capitals gained in the local context are required to access the (few) available places. Although independent and commercial projects possess some openness, the authors emphasize the benefits of the privileged social class background and study in the most prestigious arts schools when employment in the fields of theatre and dance is concerned.…”