Feminist Criticism of “Luka”

Danielle Holland

Outline

I. Introduction

A. Context for artifact: Many children are forced to deal with abusive family situations

and struggle to maintain a normal life outside of their abusive environments. The song

“Luka” by Suzanne Vega forces us to confront this reality that can so often be

overlooked.

B. Method of Analysis: The method of analysis I will be conducting is feminist criticism.

C. Rhetorical Question: In what ways can artists use the mainstream media to challenge

an audience to confront social issues?

II. Method of Analysis

A. Analysis of Gender

i. Discover what is standard, desirable and appropriate

1. Standard- Children are an underrepresented and marginalized group in

society that have issues of concern that are important.

2. Desirable- For children to have a greater voice in society and to be able

to experience life and develop with stability and support, uninhibited by

oppressive or domineering forces.

3. Appropriate- Children and childhood issues such as domestic abuse

should be represented and considered on a larger scale.

ii. Position of the audience- The position of the audience is a feminist one as the

lyrical content appeals to a maternal sense. It suggests that individuals should be

more sympathetic to domestic violence and issues surrounding children and

childhood abuse.

iii. Artists view of the world- Vega composed this song and created the video in

hopes that through exposure to this content, individuals will feel a sense of

empathy and awareness towards domestic issues surrounding children, specifically,

childhood abuse.

B. Implications of the Construction of Gender

i. Conceptions of gender – Children generally speaking do not typically have a

voice and are underrepresented and marginalized on a large scale, as the

patriarchy/dominant group in society are adults/adulthood.

ii. Challenges the status quo and attempts to create a different ideology in which

to operate.

III. Conclusion

a. Value for future rhetors: This particular artifact confronts the viewer to reconsider

their dominant views in society and challenges them to be more empathetic to and

promotes awareness on issues surrounding children, specifically, issues of domestic

abuse.

b. Value for future critics: Future critics can learn that marginalized groups in society do

not exclude children and that they are a group that is worthy of a voice. It challenges one

to analyze childhood issues and instances of abuse through the eyes of a marginalized

group in society – a child.

c. Rhetorical contribution: Feminist criticism is valuable as a method because it is the

one method that is specifically formulated to examine and challenge issues of

oppression.

Abstract

There are many children across the world that struggle with domestic abuse. The song

“Luka,” written by Suzanne Vega, confronts the viewer and challenges them to reconstruct their

perspective regarding childhood issues, specifically those of domestic abuse. We live in a society

that is predominantly concerned with issues of adulthood, therefore marginalizing those of

children. This paper will utilize the method of feminist criticism to discuss how performers can

use their unique positions to spread social awareness and poses the question: In what ways can

artists use the mainstream media to challenge an audience to confront social issues of?

Feminist Criticism of "Luka"

Introduction

Social issues surrounding children and domestic abuse are an epidemic that is all too

often marginalized by society in favor of issues surrounding themes of adults and adulthood –

the dominant societal group. The song “Luka” by artist Suzanne Vega analyzes issues of

domestic abuse specific to children and captures the viewer by reframing it from the context of

an abused, nine-year-old child. This paper utilizes the method of feminist analysis to discuss how

performers can utilize their positions of singularity in society in order to engage and help spread

awareness on important social issues – specifically in this case, the issue of childhood abuse. The

paper poses the question: In what ways can artists use the mainstream media to challenge an

audience to confront social issues?

Analysis

Description of Artifact

The song “Luka” by artist Suzanne Vega is arguably one of her most popular songs that

propelled her career to new heights. The song was a single released off of her second album,

Solitude Standing, released April 1, 1987. The album’s success was unquestionable, as it went to

platinum status and produced a hit that Vega is forever remembered by. “Luka” became

anthemic, despite Vega’s original intentions, and what many considered a “poster song for

abused children” (Vega, 2001).

I think the fact that people understood that "Luka" was about child abuse was kind of an amazing thing. Because nowhere does it say the words "child abuse," nowhere is it obvious. Somehow, lots of people understood that that was what it was about, and I think that's kind of a miracle. (Vega, 2001)

The song was based off of a little boy that Vega personally knew, named Luka, who lived

above her whom she described as having a striking air of singularity that made him stand out

from the other children. She did not believe that he was necessarily a victim of abuse, but used

him and his significant impact on her as a paradigm for her song. To this day the song remains

her highest charting hit in the United States, reaching the number three spot on Billboard Hot

100 (Billboard, n.d.).

Description of Method

Feminist criticism derives its name from the sociopolitical movement originally rooted in

feminism specific to gender equality between men and women in society. The movement has

broadened generously over the years and can often be described as seeking to “eradicate the

ideology of domination that permeates Western culture on various levels” (Foss, 2004, p. 151).

This specific method is tailored to addressing issues of oppression in society and has “emerged

as one method by which scholars engage in research designed to intervene in the ideology of

domination” (p. 157). In Foss, the formal definition is listed as:

…The analysis of rhetoric to discover how the rhetorical construction of gender is used as a means for domination and how that process can be challenged so that all people understand that they have the capacity to claim agency and act in the world as they choose. (p. 157)

While initially specific to gender issues, this criticism has evolved into a method that is utilized

to analyze all forms of oppression and relations of dominance, whether based on “race, class,

sexual orientation, or any other dimension of identity” (p. 157).

Application of Method

Children are vastly underrepresented in society and issues such as childhood abuse tend

to get sidelined in favor for more pressing issues directly relating to and focusing on the

dominant majority group. According to Theresa Martinez, author of “Popular Music in the

Classroom: Teaching Race, Class, and Gender with Popular Culture,”

Suzanne Vega’s ‘Luka’ which concerns an abused child, can be used to illustrate the concept of minority group status. Children can be viewed as an extreme example of a subordinated minority (with the exception that children are not endogamous; that is, they do not marry other children): they are distinguished by age, membership is involuntary, they are aware of their subordination, and they are treated unequally. (Martinez, 1994, p. 261)

In order to effectively examine the construction of the artifact, it is necessary to consider

what “the artifact presents as standard, normal, desirable, and appropriate” (p. 158). What is

considered standard as presented in the music video, is that children and issues of childhood

abuse are underrepresented and marginalized in society. Vega seeks to confront this by writing

lyrical content from the perspective of a nine-year-old boy, which is rather engaging to the

viewer as it is a relatively atypical approach to take.

What is desirable according to the artifact is that children and issues of domestic abuse

relating to children should ideally have a larger and more impactful voice in society. This should

be the standard; however, it is not. Children should be able to experience life and develop with a

sense of stability and support uninhibited by oppressive and domineering forces. What is deemed

as appropriate as demonstrated by the approach of the video and lyrical delivery is that children

and issues such as childhood abuse should be represented and considered on a larger scale.

The second step discussed by Foss was the need to identify the position of the audience

as set about in the artifact. The position is that of a feminist one, as the lyrical content is rooted in

ways to appeal to a maternal sense of understanding typically associated with women, not men in

society. It suggests that individuals should be more sympathetic to domestic violence and issues

surrounding children and childhood abuse. Luka is speaking to the viewer in a conversational

and casual tone in response to what feels like a concerned individual.

Vega composed this song and created the video in hopes that through exposure to this

content, individuals will feel a sense of empathy and awareness towards domestic issues

surrounding children, specifically, childhood abuse. Children, generally speaking do not have a

large voice in society, as the patriarchy/dominant group are within the context of this artifact

adults. The song challenges the status quo and attempts to create a different ideology by taking

an uncommon approach, confronting the audience directly as a child in a conversational tone

which forces one to engage and participate. It creates an altered perception of reality that

deviates from the standard everyday experience of the average adult. In doing so it uses rhetoric

to “claim agency and engage” (Foss, 2004, p. 159) the individual.

Conclusion

Children are arguably one of the most marginalized groups in society and childhood

abuse is an issue that all too often falls to the sidelines. Suzanne Vega progressively uses her

platform as an artist to promote awareness of and contemplation regarding a significant issue of

serious social concern. The song, which is unexpectedly upbeat its tone, and written from the

perspective of a nine-year-old abused boy named “Luka” manages to be catchy, yet jolting.

The value it has for future rhetors is that the artist uses the media and her talent to

confront the viewer and cause them to reconsider their dominant views in society. The artifact is

a statement, challenging them to be more empathetic to and aware of issues surrounding

children, specifically, issues of domestic abuse and thus in turn, inspiring future rhetors to do the

same.

The value it has for future critics is that they can come away from the experience with a

greater understanding and awareness of the concept that marginalized groups in society do not

exclude children and that they are a group that is worthy of a voice. It challenges one to analyze

childhood issues and instances of abuse through the eyes of an involuntarily subordinated and

often domineered individual in society – a child.

In terms of its rhetorical contribution, feminist criticism is valuable as a method because

it is the one method that is specifically formulated to examine and challenge issues of

oppression. Through the method of feminist analysis, we are able to confront, challenge and

analyze instances of oppression in society. Analytical and empathic behavior as such, propagated

by individuals such as Suzanne Vega are the very things which fuel progression and activism in

society.

References

Foss, S. K. (2004). Rhetorical criticism: Exploration and practice. (3rd ed.). Long Grove, IL:

Waveland Press.

Martinez, T. A. (1994). Popular music in the classroom: Teaching race, class, and gender with

popular culture. Teaching sociology, 22(3), 260–265. Retrieved from

http://www.jstor.org/stable/1319141

Uprichard, E. (2008). Children as ‘Being and becomings’: Children, childhood and temporality.

Children & society, 22(4), 303-313. http://dx.doi.org/10.1111/j.1099-0860.2007.00110.x

Vega, S. (2001, November 21). [Personal interview by T. Robinson].

Billboard. (n.d.). Suzanne Vega: Chart History. Retrieved March 30, 2016, from Billboard

website: http://www.billboard.com/artist/281108/suzanne-vega/chart

Lyrics

“Luka” by Suzanne Vega

My name is LukaI live on the second floorI live upstairs from you

Yes, I think you've seen me before

If you hear something late at nightSome kind of trouble, some kind of fight

Just don't ask me what it wasJust don't ask me what it wasJust don't ask me what it was

I think it's 'cause I'm clumsyI try not to talk too loud

Maybe it's because I'm crazyI try not to act too proud

They only hit until you cryAfter that you don't ask whyYou just don't argue anymoreYou just don't argue anymoreYou just don't argue anymore

Yes, I think I'm okayI walked into the door againIf you ask that's what I'll say

And it's not your business anyway

I guess I'd like to be aloneWith nothing broken, nothing thrown

Just don't ask me how I amJust don't ask me how I amJust don't ask me how I am

My name is LukaI live on the second floorI live upstairs from you

Yes, I think you've seen me before

If you hear something late at nightSome kind of trouble, some kind of fight

Just don't ask me what it wasJust don't ask me what it wasJust don't ask me what it was

They only hit until you cryAfter that you don't ask whyYou just don't argue anymoreYou just don't argue anymoreYou just don't argue anymore