Unwrapping ‘Norwegianness’: politics of difference in Karpe Diem

Abstract

This article addresses notions of 'Norwegianness' in rap music. Based on comparative audiovisual analyses and close readings of two different versions of Norwegian rap group Karpe Diem's 2010 hit 'Byduer i dur', the author's main objective is to question how issues concerning ethnicity and cultural belonging are negotiated through audiovisual representations and in the self-fashioning of the artists. The analyses and readings rest upon two central issues. First, to uncover how Karpe Diem's spectacle of 'otherness' might be considered alongside aspects of ethnicity, cultural belonging and national identity within a Norwegian context. Secondly, to argue that identity is constructed as flexible and free-floating, which provides an opportunity to reconsider notions of 'Norwegianness' through musical performance. By proposing a decentred approach to analysing audiovisual texts, the author intends to shed light on how Karpe Diem's performances could be read as part of a discourse on nationhood in contemporary Norwegian society. Following this, the national trauma of 22 July 2011 should be considered a significant backdrop for the readings and critical discussions undertaken throughout this paper.The self is always predicted on difference, on the positioning of an 'other' who serves to render the uniqueness and superiority of the self. (Jones 2012, p. 20) 1 Anders Behring Breivik, also referred to as ABB or the 'terrorist' (see Indergard 2012; Aagedal et al.2013). 2 The idea of 'cultural purity' is a highly significant aspect of ABB's manifest, released the same day as the attacks (see Greenberg 2011). Hawkins and Bjorøy's (2014) recent research addresses this issue from a musicological perspective.

Kuuk, Skrap, and the Resistance Vernacular

“…Sandve also suggests that we see Kuuk as exponents of what Halberstam has termed female masculinity (Sandve 2015b). In Halberstam's work, this pertains to a number of identities available to women, from butch to drag king, and also enables a critique of male masculinity as 'the real thing'.…”

“…The visual style of the band is no less sensational: their trademark attire on stage and in videos included exercise outfits imprinted with the American flag ( Figure 1). By way of distinction, Refsum wears a swimsuit while Solbergnes wears a sports brassiere and boxer shorts (Sandve 2015b). Any use of a nation's flag could well be seen as offensive, not to say sacrilegious.…”

“…Sandve has noted that Refsum and Solbergnes utilize opposites in their interplay, both musically and visually. The performance mode of the two rappers, which includes hypersexualized dialogues that are chock-full of expletives and that showcase a clever play with language that includes dialect and a relentless mix of Norwegian and English words, highlights a playfulness that in turn alerts us to the space of possibilities where the performers operatea space that accommodates gendered identities that are not easily categorized in binary oppositions (Sandve 2015b). The idea of a resistance vernacular is made to function as a deconstruction of machismo, where language and vocal performance become tools for destabilizing masculinity via markers of Anglo-American popular culture.…”

Altogether now? Symbolic recognition, musical media events and the forging of civic bonds among minority youth in Norway

“…Also, Krims (2000) and Alim (2004) emphasise how the musical aesthetic of hip hop and the integration of words and beats into flow s facilitate articulations of identity. In the Norwegian context, Sandve (2015) has shown how recent audiovisual, mass-mediated expositions of hip hop music involve ‘spectacles of otherness’, where artists by means of musical performance invite reconsiderations of national identity and belonging. Hip hop performances, as part media events, therefore, emerge as a potentially significant source of recognition for minority youth.…”

“…These events were highly affective, characterised by reverence, emotionally charged speeches and performances, and involved an active and ceremonial mode of audience spectatorship. Significantly, both two members of Karpe Diem are of minority background, and their musical-lyrical style and performance is often centred on play with identity positions with regard to ethnicity and belonging (Sandve, 2015). Karpe Diem is also currently among the most-selling hip hop artists in Norway.…”