Glee’s Subversion towards the Institutionalized Heterosexuality in High School Society: A Character Development Analysis
Wina Aprilia Tirtapradja, Dhita Hapsarani
Program Studi Inggris, Fakultas Ilmu Pengetahuan Budaya, Universitas Indonesia
Abstrak Skripsi ini membahas pengaruh institutionalized heterosexuality terhadap karakter-karakter termarjinalisasi di Glee, serta strategi-strategi yang digunakan oleh karakter-karakter tersebut untuk bertahan dan mensubversi nilai-nilai dan norma-norma institutionalized heterosexuality. Penelitian ini adalah penelitian kualitatif dengan analisis tekstual yang berfokus pada perkembangan karakter perempuan dan karakter non-heteroseksual. Hasil penelitian ini menunjukkan bahwa Glee menampilkan institutionalized heterosexuality sebagai nilai-nilai yang represif, kuat, dan kasar. Kemudian, Glee mempromosikan penerimaan dan penghargaan diri sebagai sebuah alternatif alih-alih mematuhi nilai-nilai institutionalized heterosexuality. Selain itu, Glee juga menampilkan citra-citra alternatif non-heteroseksual yang dapat menantang stereotip buruk mengenai kaum non-heterseksual. Melalui tiga poin tersebut, Glee mensubversi institutionalized heterosexuality
Kata Kunci: Heterosexuality; Heteronormativity; tokoh; perkembangan tokoh; teori queer; Glee
Abstract This mini thesis discussed the influence of institutionalized heterosexuality to the marginalized characters in Glee and the strategies used by the characters to survive and subvert the norms. This is a qualitative textual analysis research which focused on the character development of the female and the non-heterosexuals. This research found that Glee portrays institutionalized heterosexuality as repressive, powerful, and violent norms. Moreover, Glee promotes the self-acceptance and self- embracing as the alternative instead of conforming the institutionalized heterosexuality. Last but not least, Glee portrays the alternative images of the non-heterosexual that can challenge the bad stereotypes embedded to them. Through these three points Glee subverts the institutionalized heterosexuality.
Keywords: Heterosexuality; Heteronormativity; character; character development; queer theory; Glee.
Introduction
This paper aims to make original contribution in popular culture studies and queer studies by analyzing and examining the marginalized characters’ development in the TV series, Glee, in order to find the subversions of the characters and the series towards the influences of institutionalized heterosexuality.
For centuries, it is deeply believed that there are only two human sexes in the world, which are male and female. Moreover, it is also strongly believed that one sex will “naturally” fall for the opposite sex, romantically and sexually. This orientation which widely known as
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 heterosexuality becomes a very common characteristic of human condition. It has been a general part of human interactions and relations that it becomes almost invisible and natural-seeming, appearing to be unquestionable (Overall, 1990). Although it is perceived to be natural, there is so much pressure towards the heterosexuality, ranging from the numerous images of relationships in the media to the rules and regulation regarding marriage and private law. This social pressure toward heterosexuality leads to the dominance of heterosexuality, culturally and statistically. Moreover, this social pressure also creates normative expectations for men and women. Men are always expected to be dominant, whereas women are expected to be submissive. Thus, these heterosexual expectations could “guarantee that some people will have more class, status, power, and privilege than others” (Ingraham qtd in Schilt and Westbrook, 2009: 443). Obviously, this gender system hierarchy values masculinity more than femininity, and privileges heterosexuality than homosexuality and bisexuality. Therefore, heterosexuality has evolved into institutionalized system that supports gender inequality, especially to women and the non-heterosexuals (Rich, 1980).
This notion of heterosexuality is reiterated, articulated and consolidated in the popular culture, including popular television (Fiske qtd in Dhaenens, 2012). Consciously or unconsciously, the popular televisions have touched and circulated the issues of gender which is most likely related to the notion of heterosexuality. Moreover, it is also argued that television is able to defy normative assumptions about sexuality. Cultural studies’ perspective considers popular culture “a site that both embraces and resists hegemonic culture” (Fiske 1987, Hall 2005 qtd in Dhaenens, 2012: 2). Furthermore, the exposure of the non-normative characters itself can unsettle, criticize, or subvert the institution and practices of heterosexuality (Dhaenens, 2012). Therefore, the researcher is interested to scrutiny one of the popular American TV series, Glee. (Murphy, Falchuk, Brennan, & Di Loreto, 2009-2010). Glee is a musical comedy TV series which depicts the story of high school students related to the issue of identity and fitting in. The story revolves around a show choir club in William McKinley High School, the Glee Club, which members are marginalized and bullied because they are considered as the “misfits” and the “freaks”. Having awarded in several categories and watched all over the world, Glee has been one of the influential teenage television drama which raises the awareness of the social issues embedded in the series.
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 There are two reasons why the researcher is interested to choose Glee as the main data. First of all, Glee directly addresses the minority issues and the discrimination done towards the minorities in high school society. In particular, the main focus of these issues is the minorities by sexual preferences. It is shown by the number of non-heterosexual characters, consisting of four gay and lesbian characters, one transgender character, and characters with gender problem. Likewise, the issue of gender inequality towards women is also raised through the episodes. Undoubtedly, this theme is very much related to the issues of institutionalized heterosexuality. Secondly, Glee uses high school as the setting. High school as a gathering place has its own invisible rules regulating the interactions of the people inside it. Every high school student has the desire to be accepted by their peers, and normalness has a significant role in this process of accepting. The benchmark of the normalcy is the images of ideal male and female which are regulated by the standards and expectations of the heterosexual society. Therefore, the influences of institutionalized heterosexuality are very apparent in high school, making it easier to observe the relationship between the institutionalized heterosexuality and the marginalized characters.
Therefore, based on these thoughts, the researcher is interested to investigate the reciprocal relationship between the institutionalized heterosexuality in high school and the marginalized characters. In particular, this research will focus on the influences of the institutionalized heterosexuality in high school society towards the female and non-heterosexual characters in Glee, and the strategies done by the marginalized to survive and subvert the institutionalized heterosexuality.
Research Methodology
In general, this research will examine the reciprocal relationship between the institutionalized heterosexuality and the subversion done by the marginalized characters in Glee episodes. This implies that the episodes of Glee will be seen as texts, which means that the episodes are considered as one entity of a product of culture that involves meaning. Therefore, the qualitative textual analysis will be used to dissect the characters and the characterization of the marginalized characters in Glee. Textual analysis is a critical approach which tries to understand a television text’s meanings by undertaking detailed analysis through its images and components (Bignell, 2004: 211). Therefore, in order to have a detailed analysis on the
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 components of the film, the researcher needs film analysis to assist the observation of the film. This paper will scrutinize the literary aspects of film, especially the character development and the narrative, using the techniques of film analysis in order to reveal the meanings embedded in the episodes of Glee. Moreover, the episodes will be examined with the deconstructive approach, meaning that the analysis will be done from a non-hegemonic perspective. This would allow the researcher to dig deeper into the implied meanings and reveal ideas that cannot be seen by the naked eyes.
Institutionalized Heterosexuality, Heterosexual Institution, and Heteronormativity Sexuality relates to the practices, identity, and beliefs that are related to the sexualized and eroticized body (Bucholtz and Hall, 2004). The hegemonic ideology that occupies the sexuality is heterosexuality, defined by Overall as a “romantic and sexual orientation toward person not of one’s own sex” (Overall, 1990). This means that women can only have a romantic and sexual relationship with men, and vice versa. Heterosexuality is perceived as the “natural” and the “right” one, as the other orientations, called as non-heterosexuals, (the gay, lesbian, and bisexuals) are considered as wrong, abnormal, and deviant.
Adrienne Rich in her paper Compulsory Heterosexuality and Lesbian Existence (1983) coined the term compulsory heterosexuality which becomes the benchmark of other studies about heterosexuality. In her study she rejects the notion that heterosexuality is an innate orientation; instead, she sees it as a compulsory preference or choice. She also considers heterosexuality as something which is imposed, managed, organized, propagandized and maintained by force (Rich, 1983). Thus, she suggests that heterosexuality should be seen as a political institution and an ideology, rather than taking it for granted or perceiving it as natural. Rich discusses the relation between compulsory heterosexuality and the lesbian existence. Compulsory heterosexuality are said to be denying the lesbian existence and lesbian continuum. The heterosexual preference and the taboos on homosexuality, together with the economic independence on men, make women’s sexual bond with other women unlikely to happen. This bias of compulsory heterosexuality has made lesbianism perceived as deviant to abhorrent and even invisible (Rich, 1983).
Kitzinger coined the term “heteronormativity” to refer to the hegemonic heterosexuality, saying that it is “the suite of cultural, legal, and institutional practices that maintain normative
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 assumption that there are two and only two genders, that gender reflects biological sex, and that only sexual attraction between the “opposite” genders is natural or acceptable” (Kitzinger, 2005). This definition elaborates how heteronormativity has been very dominant and powerful as it has governed the legal, cultural, and institutional practices. However, in spite of its powerful force, it still seems very natural and invisible, shown how people rarely realized that the choices they took are a product of cultural conditioning and construction. Furthermore, these practices of heteronormativity go on to the marginalization of those who are outside of the normative, which are the lesbian, gay, bisexual, and transgender. They are seen as having a disorder for not being normal and natural. They are often misunderstood and over-generalized by the society. Moreover, people still think that non-heterosexuality could be contagious just like an illness. This leads to homophobia, or the fear to the non-heterosexual people that creates hatred towards them. The non-heterosexuals have been an object of inequality by society and its legal institution and apparatus. On the day-to-day practices, the non-heterosexuals have been objects of verbal and physical harassment, jokes, and over-generalizing media representation. All of these are called heterosexism, the discrimination towards the non-heterosexuals (Kitzinger, 2005).
The notion of heterosexuality does not only affect the non-heterosexuals, but it also has a big part in the gender inequality between men and women. Going back to Rich’s discussion on compulsory heterosexuality, she argues that compulsory heterosexuality has a strong relation with the victimization of women through marriage, female sex slavery, pornography, and sexual violence. She elaborates how compulsory heterosexuality present itself in “the mystique of overpowering, all-conquering male sex drive, the penis-with-a-life-of-its-own,” where the male sex-rights to women are rooted (Rich, 1983: 645). Rich, quoting Barry, said that the adolescent male sex drive which is believed as “once triggered cannot take responsibility for itself or take no for an answer” becomes the norm and rationale for adult male sexual behavior: a condition of arrested sexual development (Barry qtd in Rich, 1983: 646). These make women and men learn to accept it as natural and inevitable, justifying all of the inequalities. All of these beliefs are beamed to women from childhood out of fairy tales, films, advertising, television, and popular songs. These reinforce male domination, and through these images, male power is maintained and manifested, leaving the gender inequality untouched. This is also supported through the legal
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 support and regulation that mostly privilege men. Therefore, heterosexuality has evolved into an institutionalized system that supports gender inequality (Rich, 1983).
As the relationship between a man and a woman will always be in a hierarchical position (men over women), Overall coined the term heterosexual institution. Overall uses this term to refer to the common ideas that govern heterosexual relationship, which takes form in “the systematized set of social standards, customs, and expected practices which both regulate and restrict romantic and sexual relationships between persons of different sexes” (Overall, 1990: 3). This heterosexual institution is different from the social institution such as family, marriage, or school, for it is more into governing ideas rather than a solid or legal institution. However, Overall uses the term “institution” to refer to the common characteristics that social institution and heterosexuality share. She uses the definition from the Shorter Oxford English Dictionary, which defines institution as “an establishment, organization, or association instituted for the promotion of some object, especially of public utility, religious, charitable, educational, etc” (qtd in Overall, 1990: 6). Thus, Overall raises the question of the object promoted by the heterosexual institution.
Contrary to the popular belief, Overall refuses the notion of reproduction as the object of heterosexual institution. She believes that the heterosexual institution existed not only for procreation, but also for other important functions. Therefore, to answer this question, Overall departs from the idea that heterosexual institution affects women in a way that the core notion of heterosexuality is to privilege men. Indeed, most notions about gender in patriarchal society are usually oppressive to women, and those oppressions are socially accepted and even promoted. Then, she tries to see what individuals or groups of individuals benefit from the institution, what the benefits are, how those benefits are created and distributed, and at whose cost the benefits are acquired.
Then, she elaborates that the answer of these questions are first, the heterosexual institution primarily benefits men, not women; second, these benefits are created and distributed through what Adrienne Rich and others have described as the compulsory nature of heterosexuality; third, the costs for women of providing the benefits of female heterosexuality is
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 very degrading. She then elaborates the idea that heterosexual institution is the strongest arm and most powerful manifestation of patriarchy (Overall, 1990)
From these two elaborations, it can be seen that heterosexuality and its extension, heteronormativity and heterosexuality institution, has become the main proprietor of gender inequality and injustice. It privileges men over women, and it promotes heterosexuality over the non-heterosexuality.
Reciprocal Relationship between the Female Characters and the Heterosexual Institution in Glee As mentioned before, high school society is very much related to the heterosexual institution. In high school, students seek acceptance and acknowledgement from their peers, and in order to be accepted, one has to be normal. The benchmark of the normalcy is regulated by the standards and expectations on how to be a man and a woman, which is contained in heterosexual institution values. Heterosexual institution regulates on how to be an ideal men and women, and basically, it refers to the images of “normative” feminine female and “normative” masculine male. Therefore, the students that can really embody the normative image will be granted the popular status. They have more power than those who are not following the normative image. Moreover, these people usually have more chance to have a romantic partner. That is why in Glee the romantic relationships usually emerge between the most normative feminine and the most normative masculine, for instance, the cheerleaders and the athletes. However, for those who are not following the norms, they will be punished in the form of “bullying”. Students who are the far from the normative will be mocked and physically bullied. In Glee, the bullying comes in a form of throwing Slushee (a frozen drink) to someone’s face. It symbolizes humiliation and degradation to the person who receive it. It acts as a declaration that the victim is a freak, weird, and he/ she should not be regarded.
This hegemonic discourse spreads throughout the school, and it establishes a kind of social caste or hierarchy among the students with different identity in high school. In the top of the hierarchy are the Cheerios, McKinley High cheerleader squad, who are occupied by the pretty and popular girls (the normative). In the second class are the “normal” students. They are not popular, but they are still conforming to the heterosexual matrix and follow their gender identity.
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 Because they are not subverting the norms, the “normals” are not bullied nor alienated by the society. Therefore sometimes they are called the “invisibles” for not having any problems or achievements in high school. In the third class are the nerd students who are always associated with “un-manly” boys and ugly girls. Since they are quite far from the normative image, this third class is often bullied by the jocks or the cheerleaders. The last, in bottom class is the Glee Club members. Glee Club is occupied by people who are the minority, the outcast, and often referred as “the freaks”. Most of the female characters in Glee are not the “normative” characters since they have minority identity attached to them. Likewise the boys in Glee Club are considered too sissy, for Glee club activity is singing, dancing, and dressing up.
Indeed, the Glee members, consisting of people from minorities, are marginalized by the society. They are forced by the high school society to follow the ideal image through their expectations and punishment. Furthermore, the values of institutionalized heterosexuality are already internalized within them that they want to pursue the normative image. They cannot accept who they are since they are pressured to always be the normative. This influence happens to two Glee’s female characters, Quinn and Rachel.
Both Quinn and Rachel have their own main conflicts that are related to heterosexual institution. Both of them want to be accepted by their peers; however, there is difference between their objectives. Since Quinn already embodies the “normative” image (she is white, blonde, and sleek), she is pressured by her surroundings to keep this image by always being popular. For example, Quinn is forced by her coach and mother to maintain her weight through vomiting and unhealthy ways. She also forces herself to keep her status as the captain of the cheerleader. However, the story changes when Quinn suddenly becomes pregnant (Preggers, S01E04). She falls from the top of the high school’s social caste and becomes a freak like the rest of the Glee Club members. She is “slushied” by her peers, she is kicked out from the cheerleader squad, and her parents do not want her to stay in their house anymore. These events act as a punishment for Quinn who slips her way in keeping her normative image.
Different from Quinn, Rachel cannot be considered as embodying normative image. She is not pretty, blonde, or popular like Quinn. Her main characteristic is how Rachel is an ambitious student who wants to reach her dream to be a Broadway star. However, this ambitious
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 attitude leads to selfish and aggressive manners, and it makes her hated by everyone. She is often bullied by her peers through mockery and physical bullying (slushied). This makes her hate herself, shown by how she wants to be more like Quinn by vomiting her lunch and wanting to do a nose job.
These two characters have their own strategies to be accepted by high school society. After she gave birth to her baby, in order to be acknowledged and to regain her popularity, Quinn tries her best to win the prom queen title in her junior prom. She cheats her current boyfriend and be with the other because the latter is more eligible to be her partner in pursuing the Prom King and Queen title. She pretends to love him although actually she is in love with other person. Her choice to pursue the Prom Queen title reinforces the influence of heterosexual institution. Prom queen is always associated with the prettiest and the most popular girl, and this usually disregards their skills or abilities in other subjects. This shows how the recent society still considers beauty and vanity as the main trait of woman. This notion is also governed by the values of heterosexuality. However, Quinn loses her junior prom queen title to Kurt, a homosexual, who was voted by the students to offend him (Prom Queen, S02E20). Undoubtedly, the prom queen title that Quinn considers to be her ultimate objective is not taken seriously by the society. Something that she considers as the most important is used by the society to demean a homosexual. Besides losing her title, Quinn loses her sense of purpose. This event shows Quinn how the recognition that she is after all this time is just an illusion.
After realizing that what she pursues all this time is an illusion, Quinn finally decides to run from the society who pressures her to be the perfect one. Here is the voice over of Quinn when she was first introduced as the “new” Quinn in season three, and her remarks when her friends tried to ask her to come back, Quinn: Senior year and I’ve finally found myself.. [..] You guys never understood the pressure I was under. It sucked. I’m not interested in the boys, or the makeup, or the polyester outfits [..] People grow apart. Deal with it. I’ve got new friends now, and they accept me for who I am. (The Purple Piano Project, S03E01)
Through Quinn’s sayings, it is understood that the role of normative female that she used to play is not the “real” her. She feels that her old identity is something that is “pressured” to her. Indeed,
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 through her sayings, Quinn has revealed the sense that heterosexuality and its norms are forced to the society, and it does not come naturally in a person. It is a subversion to have these words come out from a girl who is the normative and used to be privileged by the heterosexuality. Eventually, she has come to stage when she chooses to rebel against the norms. However, Quinn is still influenced by the heterosexual institution since her choice to subvert the norm is by being the extreme opposite of it. It shows that she still uses the norms as the benchmark of her identity. Moreover, she still puts herself in a slot of identity, which is the Skanks. Undoubtedly, to be accepted in the group, Quinn also has to follow some rules. Some of them are changing her physical appearances and changing her attitudes.
Rachel, on the other hand, seeks acknowledgement and acceptance from her peers by pursuing men’s love. She always thinks that having a boyfriend is something important that validates and completes her achievements. Hence, Rachel becomes very active and aggressive in pursuing her love interests. Therefore, Rachel has been very active and aggressive in pursuing the guys that she wants. In the first season, Rachel aggressively pursues Finn, who at the moment is having a girlfriend, Quinn Fabray. Furthermore, this aggressive behavior also happens with other men. In season one, Rachel was once romantically interested to Glee Club’s mentor, Will Schuester (Ballad, S01E10). She begins to behave aggressively so that Will could love her back. She goes to Will’s house, and she cooks and cleans the house for him. She is also involved in a romantic relationship with Jesse St James, the front man of Glee Club’s biggest opponent, Vocal Adrenaline. Jesse St James turns out to be the spy for the Vocal Adrenaline, and he breaks up Rachel’s heart so she cannot compete well. This shows how Rachel dares to risk her club for her own interest. However, after undergoing the events, Quinn and Rachel finally develops to characters that embrace themselves more and disregards the heterosexual institution values. Started as characters that very much influenced with the heterosexual institution, Quinn and Rachel finally stand for themselves and have different objectives. In her senior prom, Quinn is elected as the Prom Queen. Then, her character eventually shows that it is meaningless to follow the society expectations, and what matters is to make a difference. This is reflected through her conversation with Santana when they count the ballot for the prom queen and king in their senior prom election in season three:
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 Quinn : I won. It’s everything I’ve ever wanted and I don’t feel any different. Santana : Cool. I mean, I guess you deserve to win, right? What with being a crip and all Quinn : You know, we really have had the dream high school careers. Mega-popular. Doing whatever we wanted. Whoever we wanted. You know I’m really not surprised that you and I were the top two candidates. Santana : Well, you know, it would be boring if we weren’t so awesome. Quinn : Don’t you want to leave this place having made a difference? (Prom-asaurus, S03E19)
Quinn finally decided to give up her prom queen title to her friend, Rachel. For Quinn, her phase of pursuing popularity and vanity is over, and she decides to boost’s Rachel spirit by giving her the prom queen title. She also said that winning the prom queen does not make any difference to her, which means that winning it means nothing.
Similar with Quinn, Rachel slowly develops into a character that embraces herself more. Different from Quinn who is ambitiously pursuing popularity that she has to sacrifices some parts of her, Rachel still holds on to her principles and her “true self”. Although she does not have the acceptance from the peers, she still stays the same. Her ambitious attitudes eventually bring her virtues as Rachel is always on the top in Glee. Rachel is also depicted as the one who has the brightest future among the Glee Club members, as she is successful in pursuing her dream school and living in the city that she wants the most. She also realizes that she does not need men’s love to define who she is. She can be as bright as she wants without having to have the acknowledgement from a man.
Besides the younger female characters, Glee discusses the heterosexual relationship for the older female characters (the teachers). Although it is less discussed compared to the younger characters, marriage is discussed quite deeply in the story. The topic is related to the expectation and pressure given by the society regarding marriage; for example, the woman in the right age has to marry someone, how to be a good wife, or how to be a good mother. Similar to the younger characters, these pressures are also governed by the heterosexual institution values. One of the interesting stories is on Shannon Beiste’s character. Shannon Beiste is a 40-year old woman who works as a football coach in William McKinley High School. As suggested by her nick name, Beast, Beiste is portrayed as an ugly woman with too much masculine characteristics to be a “normal” woman. However, her masculine appearances and identity cause her problems when it collides with society’s expectation towards women.
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013
Shannon Beiste’s character development is a little bit different from the previous two characters since Beiste has already at least accepts her non-normative self (her masculine appearances). Unlike the two previous characters, Beiste has gone through the phase of finding her true self or seeking acceptance from her peers. However, Beiste is included in the discussion because Beiste’s character shows the same pattern with the previous characters regarding self- acceptance. Although it seems like Beiste has already made a good use of her “abnormalities”, the pressure in the heterosexual institution still makes her not embrace some parts about herself. In the end, Glee shows how embracing oneself is the only way to survive the hostile environment of heterosexual institution.
In the beginning of her appearances, Beiste is depicted as an empowered woman. Although she is not as feminine as a woman should be, she can be successful and make her “unwanted” masculine part of her as something empowering. Beiste is also portrayed as someone who does not have financial problems. In social life, Beiste is a very good friend of William Schuester (Glee club mentor and Spanish teacher in McKinley High School), and Emma Pillsbury (the school’s guidance counsellor and Will Schuester’s girlfriend). Obviously, Beiste’s success to survive in the hostile heteronormative society can be considered as subversion. It shows how one does not have to follow the gendered heterosexual matrix in order to be successful, self-satisfied in career, and financially independent.
On the other hand, her empowered self and fulfilled life does not guarantee that she is free from the pressure of heterosexual institution. The story of Shannon Beiste still shows how her life is very much governed by the heterosexual institution. It is shown how she used to be wishing herself to be more “normal”. Moreover, Beiste’s confidence and her empowered characteristics drastically changed when she has to face the romantic relationship problems. Heterosexual institution values and norms have made Beiste look down on herself, especially in terms of courtship. The fact that she could not have a romantic relationship until her forties has been something that she sees, and probably people see, as devaluing. She feels that she is incomplete without love from a man in spite of her successful achievements in her career. This goes in sync with Overall’s remark about heterosexual women that “heterosexual woman is validated for
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 having men in her life” (Overall, 1990: 8). The presence of a boyfriend or husband, or at least to be desired by a man, confirms that the woman is a ‘real woman’. The absence of a man in a woman’s life is seen as a failure. Furthermore, being accepted as a “real” heterosexual woman negates the assumptions of the society that she is a non-heterosexual woman. It shields her from the harassment reserved for the non-heterosexuals. That becomes one of the reasons why Beiste is being submissive and passive when she is abused by her husband, Cooter. Moreover, the fear of losing a man who finally loves her for who she is makes her protect her abuser.
However, similar with Quinn and Rachel, Beiste’s character development also suggests the importance of self embracing and self acceptance. the character of Shannon Beiste also shows how self acceptance is way more important than conforming to the heterosexual institution values. In the scene when she tells Brittany her wish to santa to be “normal”, she said that, “Instead, Santa gave her (me) patience. And later on, that girl was glad that Santa didn’t give her what she asked him for. She put being husky to good use.” (A Very Glee Christmas, S02E10). This dialogue implies that she is finally content with her condition right now. Likewise, this dialogue happens when she ends her relationship with Cooter, Cooter: Who’s going to love you the way I loved you, huh? Who’s going to love you now?” Beiste: Me (Props, S03E20)
This dialogue indicates that Beiste finally realizes that she does not need love from a man so she can accept and value herself wholly.
Through the depictions of the three female characters above, it shows that the heterosexual institution is violent, unnatural, powerful, and pressured into the society. It is violent in a way that the existence of heterosexual institution has made the characters not embrace who they are. They have to conform to the identities and slots provided in the heterosexual institution, and they follow the normative in order to be considered normal and to be accepted by the society. Heterosexual institution is powerful in a way that there will be a punishment if they do not follow the values. This is done through the process of “othering” by using labels to refer to the person, or treating them in an unfriendly way. Last but not least, these all show how the values of
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 heterosexual institution are unnatural and restricting. Glee shows that no one is born as a natural beauty or a normative female. It is just a perfect image that is impossible to achieve.
By showing the true nature of the heterosexual institution, Glee shows that it is useless to follow the normative. Then, Glee gives an alternative of self-embracing as a tool to survive the heterosexual institution. All of the three characters eventually come to the understanding that the privileges of being heterosexual are unimportant compared to embracing their true self. They finally show the audience that self acceptance is far more crucial than trying so hard to conform to the heterosexual institution.
The Reciprocal Relationship between the Non-Heterosexual Characters and Heteronormativity in Glee Glee discusses the issues of sexuality in the context of high school, an institution that strongly holds heteronormative values. Similar to the previous chapter, high school students seek to find acceptance and normalization from their peers. They tend to follow the hegemonic values and disregard those who are not following the right one. As a result, the non-heterosexuals are considered as the abnormal and the abhorrent ones. They are also afraid to be associated to the abnormals or to be thought that they are also non-heterosexual. This causes the non- heterosexuals to be left behind, neglected, and alone. That is the reason why heterosexism and homophobia are rampant in high school. It is also resulting in how the non-heterosexuals do not want to show who they are and end up denying their own sexuality.
The victimization of the non-heterosexual characters becomes the main plot of the non- heterosexuals’ story. Most of their stories are related to the conflict between them and the society as well as their struggle to embrace their own identity. Therefore, Glee depicts how the non- heterosexual characters survive this hegemonic heteronormativity. There are varieties in the depiction of the non-heterosexual characters and how they survive the heteronormativity. The discourse surrounding the non-heterosexual identity is the distinction between “out and proud” and “closeted” non-heterosexuals. The “out and proud” refers to the non-heterosexuals who are proud to say that they are lesbian/ gay/ bisexual/ transgender. On the other hand, the “closeted” are the non-heterosexuals who do not admit that they are non-heterosexuals. They prefer to keep
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 it to themselves for the sake of their safety and image. The process of admitting their non- heterosexuality thus called as “coming out of the closet”.
Furthermore, there is also the discourse of assimilation of the non-heterosexuals to the heterosexuals. In order to seek inclusion in the majority and avoid conflict with the heteronormative institution, the non-heterosexuals perform an identity that conforms to the heterosexual majority. This act, called homonormativity, includes the construction of the norm of the acceptable homosexuality which is based on its adherence to heteronormativity (Rosenfeld, 2009). This kind of strategy includes adopting gender-conforming behaviors and appearances.
The idea and notion are discussed in these four non-heterosexual characters which are Santana (lesbian), Brittany (bisexual), Kurt and David (gay). Through their sexuality development, it shows that their sexuality development consists of stages until the finally come into terms with their non-heterosexuality. Most of their sexuality development starts with confusion and even anger at themselves. They strive to accept and understand their “different” sexuality. Then, it moves to the admittance of their non-heterosexuality, but they deny their sexuality to the public (staying in the closet). Then, they will stay in the closet for some time. Then, they finally come out of the closet. In this point, they might do it themselves with their own decision, or someone makes them come out. Then, most of them are portrayed to be out and proud heterosexuals.
However, the aforementioned stages do not occur to Brittany. Brittany main characteristics are being extremely naive. She cannot see the rules and expectations that are attached to her identity; therefore, she does not see any harm in expressing her same sex feeling. Brittany can be with anybody that she wants whether it is a man or a girl. Unlike the other characters, Brittany does not have the needs to understand her sexuality. She sees it as merely love, so everything is logical, and she does not see anything wrong with it.
Besides their sexuality development, it is interesting to see the characters’ strategies in surviving the hostile heteronormative society. Santana and David use closet practices, (Seidman, Meeks, and Traschen 1999, 11) which were defined as:
response to repressive strategies aimed at maintaining a norm of heterosexuality by excluding homosexuality from public life. This strategy (roughly inaugurated in the 1940s but intensified in the 1950s and 1960s) created the conditions of the closet – a concept of homosexuality as a distinct
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 sexual identity and a double life. The latter involved intensive and extensive strategies of sexual self-management. (qtd in Rosenfeld, 2009: 622) Santana and David never try to show their homosexuality in public. They conform to their gender identity (female-feminine, male-masculine), and they hinder the activities that are related to homosexuality. Besides that, to appear more convincing as a heterosexual, Santana and David decides to run for the Prom Queen title in her junior prom, the symbol of heterosexuality. They become each other “beards”, a term for a gay man and woman who date each other to hide the fact that they are homosexuals.
Furthermore, David also hides his sexuality by practicing heterosexism and bullying to Kurt. According to Parrot, heterosexism or aggression from men toward gay men serves as the reaffirmation of one masculine identity (Parrot, 2010). It means that David, who is still in the stage of denying his sexuality, needs to bully Kurt in order to deny himself as a homosexual. He reaffirms his masculinity and heterosexuality by showing to himself and the world that he is a heterosexist. It also minimizes the chances for people to think that he is a homosexual.
Their decision to stay in the closet is influenced by several factors. First, it is greatly influenced by the fear of heterosexism and homophobia that will be targeted towards them. Second, Santana and David are the popular kids who usually stay in top of the pyramid. They have got all of the luxury in high school. Coming out of the closet also means that they will leave all the luxury and power that they have. That is why, for these two characters, they come out not because of their own decision, but they are “outed” by their friends. In here, the process of staying in the closet is seen as a hurtful experience that can cause harm to the person. Santana and David are portrayed as individuals that hate themselves and others. It is shown by how they like to bully and mock the people. Therefore, coming out of the closet is depicted as the best way to live as a non-heterosexual.
Unlike Santana and David, Brittany and Kurt has accepted their homosexuality since the early stages of their sexuality development. They are not afraid to be who they are or to express their sexual identity. They do not always conform to their gender identity, especially Kurt, who has passion for fashion and effeminate behavior. However, for Kurt, the social consequences of him being gay are even harsher than the lesbian. It is also happened to David when he finally comes out of the closet. There are differences in the heterosexism done by the society to the
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 lesbians and the gay people. Glee shows how the attitudes towards the homosexual men are generally harsher than the attitudes towards the lesbian. It is in accordance to Lim (2002), who said that the attitudes towards gay men are generally more negative than their attitudes toward lesbians (qtd in Parrot, 2010). This is related to the finding in literatures that male homosexuality is a threat to masculinity. Male homosexuality has become a threat to the traditional gender roles for men that are strictly applied in this patriarchal society. Masculinity has always been related to (a) status, which reflects the belief that men must gain respect of others, (b) toughness, which reflects the belief that men are physically tough and inclined to be aggressive, and (c) anti- femininity, which reflects the belief that men should avoid stereotypically feminine activities (Parrot, 2010). As male homosexuality is mostly related to femininity, it shows defiance to the norms. Therefore, in order to keep perpetuating the norms, heterosexisms are used to punish male homosexual.
There are subversions done by the sexuality development of the non-heterosexual characters. First of all, the idea of self-embracing is once again promoted throughout the story. Glee shows the importance of self-embracing by showing that staying in the closet is a hurtful experience. Moreover, Glee shows that the characters that embrace themselves more finally become the most successful among the others. Second, Glee also challenges the stereotypes attached to the non-heterosexual. In addition, the depictions of non-heterosexual characters also expose the audience to the life of the non-heterosexuals who are banished by the society. It gives the audience new perspective and understanding about the non-heterosexuals, and it helps lower bad stereotypes that are attached to them. It eventually triggers the audience to question heteronormativity.
Conclusion
From the explanations above, it is clear that there are three similar subversive agenda that can be found in both categories. First of all, Glee does it by showing the nature of heteronormativity that marginalizes the characters. Secondly, Glee subverts heteronormativity by promoting the importance of self acceptance and self embracing. Thirdly, Glee gives alternative images of the non-heterosexuals that can challenge the stereotypes and over-generalizations of them. Therefore, by looking at these patterns and similarities, there are three points can be raised.
Glee’s subversion…, Wina Aprilia Tirtapradja, FIB UI, 2013 First of all, Glee represents female and non-heterosexuals teenagers as victimized by the heteronormativity. The victimization is done by heteronormative values which pressure them to be the “normal” and “normative”. The nature of the heteronormativity has caused the female and non-heterosexual characters to have suffering experiences, especially in their high school times. Through this depiction of the imperfect and marginalized characters, it eases the audiences to relate and identify themselves with them. By providing different marginalized characters with different identity, Glee can attract various ranges of audiences which can relate their own identity to the characters. Besides giving more profit, having more audiences will make Glee intended message echoed in the society.
Secondly, the marginalized characters are also depicted to be able to attain their happiness and self-fulfillment eventually. Glee shows that it can be possible by putting more weight on self- embracing and self-developing than trying to embody the norm. Glee conveys this by showing that pursuing status or acknowledgement from the heteronormative institution is vain effort. Furthermore, it is also shown by how some characters that are the most self-embracing and the most focused on developing themselves are depicted to be the most successful. Thus, Glee shares a sense of hope towards the audiences who feel like they are marginalized by the society. Glee shows how their life can change only if they want to embrace themselves as unique individuals. Thus, by using this two points Glee subverts the institutionalized heterosexuality, both in the fiction and in the reality.
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