Publication: La autorrepresentación del hiyab en los vídeos de YouTube en España: discursos y prácticas de sus creadoras en el entorno digital de la plataforma
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2022
Defense date
2022-07-14
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Abstract
Esta investigación nace con el objetivo de explorar los discursos sobre el hiyab y las
prácticas de creación que, desde la autorrepresentación, crean mujeres musulmanas en la plataforma de YouTube. En esta investigación se hace una aproximación desde el
paradigma cuantitativo y cualitativo al objeto de estudio. Para la exploración de las
temáticas y de los géneros se emplea la técnica análisis de contenido, mientras que —con el objetivo de identificar los significados y asociaciones del hiyab— se hace uso del
análisis textual. Para indagar sobre las prácticas de creación digitales, se lleva a cabo una
observación y análisis de las prácticas de estas creadoras en la plataforma de YouTube,
además de entrevistas semiestructuradas a las creadoras que quisieron participar en la
investigación.
El primer capítulo teórico, La comunidad musulmana y el hiyab en España, es un
análisis que mapea, desde la demografía y la institucionalidad, la comunidad musulmana
y el islam en España. Posteriormente, se visibilizan los elementos que pueden estar
generando tensión en la construcción de un islam español y de una identidad musulmana
dentro de este contexto. La última parte de este apartado analiza los posicionamientos
emancipadores de la mujer en el islam ante las formas discriminatorias existentes. El
siguiente capítulo teórico, El hiyab desde una óptica de discurso religioso, cultural y
político, se centra en la noción de discurso como dispositivo estructurante y ahonda en
los discursos sobre el hiyab desde la religión, cultura y el ámbito político. En el capítulo
posterior, YouTube en la sociedad plataforma, microcelebridades y otras formas de
modulación, la investigación se aproxima al fenómeno de las plataformas digitales,
principalmente YouTube, desde una óptica crítica. Por último, en el apartado final de este
capítulo, se analiza el modelo dramatúrgico de Goffman y su pertinencia para poder
realizar un análisis de los vídeos de esta plataforma.
En cuanto a los resultados cabe señalar que se ha observado la existencia de cinco
categorías temáticas, respecto al número de géneros se ha encontrado nueve tipologías,
aunque dos de estas no tienen más de una frecuencia. Entre las temáticas con mayor
número de vídeos se encuentra “La materialidad del pañuelo”, mientras que el género
más utilizado es el “Tutorial”. En relación con las preferencias de las seguidoras, la
tipología temática con más interacciones es “Significados, reflexiones y respuestas sobre
llevar el hiyab” y el género “Q&A”. Esta diferencia entre las tendencias de creación y de
consumo, evidencia que la predilección de las comunicadoras es hacia productos que
visibilizan distintas estéticas y formas de llevar la prenda en el contexto actual; mientras
que el interés de las seguidoras consiste en saber más sobre las opiniones, significados y
controversias que se generan sobre la prenda.
En relación con los significados y asociaciones observados sobre la prenda, se aprecia
que estos se pueden clasificar según factores de carácter religioso, cultural, político y
estético. Desde el ámbito religioso, el hiyab se entiende en relación con un modelo místico
donde el velo tiene sus propias funciones y reglas específicas. En este sentido, el llevar el
hiyab es parte de una conducta modesta, la cual propicia un acercamiento a Dios. Desde
un punto de vista cultural, se observa que las características emblemáticas de la prenda,
en el contexto actual, posibilitan a quien la porta una autoidentificación como musulmana,
convirtiéndola, además, en embajadora del islam en el espacio público (Van Es, 2019).
Esta capacidad de representación y visibilización supone un acto político en un contexto
de escasez de representación mediática y participación en la vida sociopolítica (Tarlo y
Moors, 2013). Además, esta acción de visibilización en su praxis social offline y online
es una práctica de ampliación progresiva de las fronteras de lo que socialmente es
concebido desde la normalidad (Hall, 2011). Los discursos dialogan también con el hiyab
desde una óptica estética en la que se entiende como prenda de vestir, con una
significación especial. Desde esta óptica, se aprecian distintos procesos como la
negociación identitaria que esta primera generación experimenta y que visibiliza a través
de las combinaciones estilísticas entre la estética occidental e islámica (Tarlo y Moors,
2013).
Respecto a la práctica digital de éstas se observa que el concepto de microcelebridad
(Senft, 2008; Marwick, 2013; Abidin, 2018) es el constructo teórico que mejor se
aproxima a la actividad que desarrollan. Esto se debe a que en las tendencias estudiadas
y en las entrevistas se constata la centralidad del vínculo que se establece entre
comunicadoras musulmanas con su comunidad nicho. Las formas y estéticas orientadas
a generar este vínculo tratan de generar una proyección que simula la sensación de estar
interactuando con la audiencia. Esta proyección genera la ilusión de cercanía e intimidad
a partir de estos recursos audiovisuales: el plano de busto parlante; la filmación en espacio
íntimo del hogar; y un relato construido como una conversación. Además son prácticas
construidas desde una puesta en escena en la que muestran “su mejor versión”.
Finalmente, estos elementos pueden posibilitar el desarrollo de una relación de influencia
con las audiencias (Marwick, 2013; Burgess y Green, 2018; Stokel-Walker, 2019).
The main goal of this doctoral research is to explore discourses about the hijab and digital practices created by Muslim women in the platform YouTube. In this research, the object of study is approached from a quantitative and qualitative paradigm. The research adopts the technique of content analysis for the exploration of the themes and genres, while textual analysis is used to identify the meanings and associations of the hijab. The practices of digital creation are looked into through the observation of these practices on YouTube and through semi-structured interviews with their creators who wished to participate in the research. The first theoretical chapter, Muslim community and hijab in Spain, provides a demographical and institutional perspective of the Muslim community and Islam in Spain, followed by an analysis of the elements and factors that generate stress in the process of integration of a Spanish-Muslim identity. The last part of this section analyses the emancipatory positions of women in Islam in the face of existing forms of discrimination. The next section, Hijab from a religious, cultural and political discourse viewpoint, discusses the notion of discourse as a structuring device and focuses on discourses about the hijab from a religious, cultural and political perspective. The last theoretical chapter, YouTube in a digital society, microcelebrities and other ways of modulation, approaches the phenomenon of digital platforms, mainly YouTube, from a critical angle. Finally, in the last section the dramaturgical model of Goffman is analyzed and its validity in digital platforms such as YouTube is discussed. In terms of results, it should be noted that five thematic categories have been observed in the hijab videos, whereas the number of genres is nine. However, two of these have no more than one frequency. Among the themes with the highest number of videos “The materiality of the headscarf” is highlighted, while the most used genre is “Tutorial”. In relation to the followers’ preferences, the thematic typology with the most interactions is “Meanings, reflections and answers about wearing the hijab” and the genre “Q&A”. This difference between creation and consumption trends shows that the communicators’ predilection is for videos that show different aesthetics and ways of wearing the garment in the current context, whereas the followers’ interest consists of finding out more about the opinions, meanings and controversies generated by the headscarf. Regarding meanings and associations that are generated in the videos about the hijab it is observed that these materials can be classified according to religious, cultural, political and aesthetical factors. From a religious perspective the hijab is understood in relation with a sacred model where it has its hierarchical position, functions and rules. In this sense, to wear headscarf is part of a modest conduct which propitiates an approach to God. From a cultural perspective it is observed that the emblematic features of the headscarf enable the person who wears it to generate self-identification as a Muslim and make them an ambassador for Islam in the public space (Van Es, 2019). This capacity of representing Islam publicly entails in itself a political act in a context characterized by the scarcity of positive visibility in both media communication and the political system (Tarlo y Moors, 2013). Moreover, this action for obtaining visibility in their offline and online social praxis is a practice of progressively expanding the boundaries of what is socially conceived as normal (Hall, 2011). In these discourses the hijab is also understood from an aesthetical perspective in which it is comprehended as a garment with special meaning. From this perspective, different processes can be appreciated, such as the negotiation of identity that this first generation experiences and which makes it visible through stylistic combinations of their clothing between Western and Islamic aesthetics (Tarlo and Moors, 2013). In regard to their digital practice, the concept of microcelebrity (Senft, 2008; Marwick, 2013; Abidin, 2018) is the theoretical construct that best approximates the activity they carry out. This is due to the fact that in the trends studied and in the interviews, the centrality of the link established between Muslim women communicators and their niche community is observed. The forms and aesthetics aimed at generating this bond try to create a projection that simulates the sensation of interacting with the audience. This projection generates the illusion of closeness and intimacy through audiovisual resources: the talking head shot; filming in an intimate space of the home; and a narrative structured as a conversation. Moreover, they are practices constructed from a performance that show “their best possible version”, as commented in the interviews. In conclusion, it should be noted that all these elements enable the development of an influential relationship with audiences (Marwick, 2013; Burgess and Green, 2018; Stokel-Walker, 2019).
The main goal of this doctoral research is to explore discourses about the hijab and digital practices created by Muslim women in the platform YouTube. In this research, the object of study is approached from a quantitative and qualitative paradigm. The research adopts the technique of content analysis for the exploration of the themes and genres, while textual analysis is used to identify the meanings and associations of the hijab. The practices of digital creation are looked into through the observation of these practices on YouTube and through semi-structured interviews with their creators who wished to participate in the research. The first theoretical chapter, Muslim community and hijab in Spain, provides a demographical and institutional perspective of the Muslim community and Islam in Spain, followed by an analysis of the elements and factors that generate stress in the process of integration of a Spanish-Muslim identity. The last part of this section analyses the emancipatory positions of women in Islam in the face of existing forms of discrimination. The next section, Hijab from a religious, cultural and political discourse viewpoint, discusses the notion of discourse as a structuring device and focuses on discourses about the hijab from a religious, cultural and political perspective. The last theoretical chapter, YouTube in a digital society, microcelebrities and other ways of modulation, approaches the phenomenon of digital platforms, mainly YouTube, from a critical angle. Finally, in the last section the dramaturgical model of Goffman is analyzed and its validity in digital platforms such as YouTube is discussed. In terms of results, it should be noted that five thematic categories have been observed in the hijab videos, whereas the number of genres is nine. However, two of these have no more than one frequency. Among the themes with the highest number of videos “The materiality of the headscarf” is highlighted, while the most used genre is “Tutorial”. In relation to the followers’ preferences, the thematic typology with the most interactions is “Meanings, reflections and answers about wearing the hijab” and the genre “Q&A”. This difference between creation and consumption trends shows that the communicators’ predilection is for videos that show different aesthetics and ways of wearing the garment in the current context, whereas the followers’ interest consists of finding out more about the opinions, meanings and controversies generated by the headscarf. Regarding meanings and associations that are generated in the videos about the hijab it is observed that these materials can be classified according to religious, cultural, political and aesthetical factors. From a religious perspective the hijab is understood in relation with a sacred model where it has its hierarchical position, functions and rules. In this sense, to wear headscarf is part of a modest conduct which propitiates an approach to God. From a cultural perspective it is observed that the emblematic features of the headscarf enable the person who wears it to generate self-identification as a Muslim and make them an ambassador for Islam in the public space (Van Es, 2019). This capacity of representing Islam publicly entails in itself a political act in a context characterized by the scarcity of positive visibility in both media communication and the political system (Tarlo y Moors, 2013). Moreover, this action for obtaining visibility in their offline and online social praxis is a practice of progressively expanding the boundaries of what is socially conceived as normal (Hall, 2011). In these discourses the hijab is also understood from an aesthetical perspective in which it is comprehended as a garment with special meaning. From this perspective, different processes can be appreciated, such as the negotiation of identity that this first generation experiences and which makes it visible through stylistic combinations of their clothing between Western and Islamic aesthetics (Tarlo and Moors, 2013). In regard to their digital practice, the concept of microcelebrity (Senft, 2008; Marwick, 2013; Abidin, 2018) is the theoretical construct that best approximates the activity they carry out. This is due to the fact that in the trends studied and in the interviews, the centrality of the link established between Muslim women communicators and their niche community is observed. The forms and aesthetics aimed at generating this bond try to create a projection that simulates the sensation of interacting with the audience. This projection generates the illusion of closeness and intimacy through audiovisual resources: the talking head shot; filming in an intimate space of the home; and a narrative structured as a conversation. Moreover, they are practices constructed from a performance that show “their best possible version”, as commented in the interviews. In conclusion, it should be noted that all these elements enable the development of an influential relationship with audiences (Marwick, 2013; Burgess and Green, 2018; Stokel-Walker, 2019).
Description
Mención Internacional en el título de doctor
Keywords
Hiyab, Mujeres musulmanas, YouTube, España