My argument is three-fold: firstly, that the figure of ’the Muslimwoman’ is an important figuration in contemporary Scandinavia, and secondly, that the contemporary expression of this figure is bound to a specifically situated history of alterity. Thirdly, that this figuration functions through and as a demarcation. I develop the neologism ‘Muslimwoman’ first applied by miriam cooke, through an emphasis on the Muslimwoman as a figuration, inspired (amongst other) by Judith Butler and further with Sara Ahmed’s concept of ‘sticky objects’. Further to this I argue, when work- ing on figurations like this one, that the analytical concept of ‘thresholds’ might be more useful than ‘boundaries’. While thelatter signals something more static and fundamental, the threshold accentuatesmobility, a transformative potential and highlights an ‘in-between space’. I alsoargue for the necessity of situating a figuration like this, geographically, historically and culturally. By situating the figure of ‘the Muslimwoman’ in a Scandinavian historicaland contemporary context, a specific history of alterity comes into view. The latent historical imagery of alterity and homogeneity, highlights the connection to aspects of a Nordic colonialism and orientalism, as well as Nordic exceptionalism through the narrative of ‘a Nordic model’ of welfare andequality. I problematize this through a discussion of the concept of ‘Nordic whiteness’ and the so-believed ‘achieved gender equality’, in light of the concept of ‘femonationalism’ framed by Marxist scholar Sara Farris. The contribution is a gendered, postcolonial theoretical approach and aconceptual framework for working with figurations in general, and ‘the Muslimwoman’ specifically, and an advocacy of a necessary situated historical approach.