Drag king magic: performing/becoming the other

This chapter seeks to theorize drag king practice through the lenses of alterity, liminality, and performance theory, while attempting to complicate and reinvigorate discussions of identity raised by drag. I examine the ways in which drag king performance plumbs the concept of "the Other," and forces confrontation with a complex field of desire. Contemporary "queergirl" existence negotiates a range of desirable and desiring Others, from the polarities (i.e., butch-femme) unique to queer structures of desire, to the desire of those on the cultural margins for the power of those at the center, and vice versa. I employ anthropological theories of performance, mimesis, and liminality to establish a framework through which drag kings may be viewed as crucibles of this desire and agents of this power exchange. By performing maleness, drag kings expand and redraw the definitional boundaries of the male, interfere with the cultural power of mainstream maleness, and simultaneously transfer some of this power to themselves as queer women. At the same time, drag king existence forces a renegotiation of queergirl desire to encompass a range of masculinities. By performing/becoming the Other, drag kings engage in a practice of magic which transforms both margin and center.     

Seeing double,thinking twice: the Toronto drag kings and (re-) articulations of masculinity

Through a close reading of the performances of masculinity by the Toronto drag kings, this chapter argues that drag king shows parody the hyper-masculine star at his most contradictory and dialogic. Given that drag king performances parody both the contradictions of masculinity on stage, and the productive technologies of the star, king performances are essentially both meta-theatrical (performances about performing where lights, music, body language, dance all make the man) and meta-performative (performances which are at once conditioned by the performative reiterations which enable a fiction of identity in the first place). Finally, I explore the rather abstracted question of what cultural work the category of "drag king" does. I argue that it is a term which articulates a series of productive but necessary slippages in and through the contradictory and dialogic practices of identification. The bottom line is this: drag kings are situated in and play with the ironic no man's land between "lesbian," "butch," "transman" and "bio-boy" where the sell evident is neither.     

One body,some genders: drag performances and technologies

This chapter examines the ways in which one body becomes the site for multiple and varied gender performances through Alana Kumbier's performances as drag king Red Rider and drag queen Red Pearl. Using theoretical frameworks provided by Judith Halberstam, Ira Livingston, and Teresa de Lauretis the essay also calls for a consideration of material technologies and artifacts as technologies of gender.     

Drag kings in the new wave: gender performance and participation

In an examination of Midwestern drag king performers and communities that have emerged since the study by Volcano and Halberstam of king cultures in London, New York, and San Francisco, this article considers traditional and alternative ways of "doing drag," both performative and participatory, as a means of interrogating the proximity of a "new wave" of king culture to academic theory. Tracing the evolution of drag king performance in the Twin Cities from the 1996 workshop by Diane Torr to the formation of two distinct king troupes in the late 1990s demonstrates a particular trajectory in kinging that reflects a new consciousness and enactment of gender theory through artistic praxis. Participation plays a key role in breaking down the distance between spectator and performer in venues such as the First International Drag King Extravaganza in Columbus, Ohio, and Melinda Hubman's art installation "Performing Masculinities: Take a Chance on Gender" in Minneapolis. By engaging the "audience" in drag, the Extravaganza "Science Fair" successfully referenced drag kings' shared history with early American freak shows in a clever and critical way. Moving beyond the contest framework of early king shows, new drag king troupes like Minneapolis' Dykes Do Drag are "mixing it up" in an attempt to complicate notions of butch/femme gender roles, sexuality, and drag stereotypes.     

Racializing white drag

While drag is primarily understood as a performance of gender, other performative categories such as race, class, and sexuality create drag meaning as well. Though other categories of identification are increasingly understood as essential elements of drag by performers of color, whiteness remains an unmarked category in the scholarship on drag performances by white queens. In this paper, I argue that drag by white queens must be understood as a performance of race as well as gender and that codes of gender excess are specifically constructed through the framework of these other axes of identity. This essay asks whether white performance by white queens necessarily reinscribes white supremacy through the performance of an unmarked white femininity, or might drag performance complicate (though not necessarily subvert) categories of race as well as gender? In this essay, I will suggest that camp drag performances, through the deployment of class as a crucial category of performative femininity, might indeed be a key site through which whiteness is denaturalized and its power challenged. Specifically, I will read on camp as a politicized mode of race, class and gender performance, focusing on the intersections of these categories of identity in the drag performance of Divine.     

"I Am the Man!" Performing gender and other incongruities

The following essay details the genesis of the performance "I Am the Man" for the First International Drag King Extravaganza. In it the authors explain both their autobiographical performances and the relationship between their drag performances and transgender theory by linking Shakespeare to queer theory and by overlapping their personal narratives.     

"I thought this course was going to be streamlined!": the limits of normal and the possibilities of transgression

This article offers an analysis of the parallels between neo-liberalism, epistemology, and pedagogy, specifically related to how neoliberal ideologies narrow the possibilities for considering transgressive sexualities. Lesbian, gay, bisexual, transgender, and queer (LGBTQ) education encourages educators to consider queer lives and communities, and can do so in ways that leave intact or challenge dominant norms. Neoliberalism, an economic expression of liberalism, rests on ideologies that support privatization and a diminished notion of the public good. These ideologies can become intertwined with epistemological expectations in the classroom. Related to queer theory and pedagogy, neoliberalism can profoundly narrow the possibilities for queer subjecthood. Epistemological neoliberalism, or structures of knowing that endorse an often falsely rendered normality, can be active in the classroom. This article explores two comments students offered in courses on gender and communication to explore the ways in which neoliberal ideologies bear on epistemological and pedagogical practices in ways that profoundly narrow conceptions of the social and constitutions of the subject, particularly related to transgressive sexualities and queer lives.     

Lesbian drag kings and the feminine embodiment of the masculine

Part of an ongoing ethnography of an imperial sovereign court I am undertaking, this chapter explores the world of the lesbian drag king and the gendered performance she undertakes in this realm. Taking a relational, situational approach to understanding gender, the lesbian drag queen of the court is also examined in terms of how "her" image and actions give gendered meaning and confer import to the lesbian drag king. Note is also made of lesbian court members' often contradictory gendered relationships with the gay men in this setting: gay drag kings and gay drag kings. Although embodying a masculine persona in image and action has enabled some lesbian drag kings to successfully challenge the often sexist actions and reign of the gay men of the court, it has also resulted in some lesbian drag queens being subordinated in the process. Thus, as much as lesbian drag kings subvert existing gender hierarchies they also sometimes recreate them in the pursuit of situational power.     

A comparative analysis of hijras and drag queens: the subversive possibilities and limits of parading effeminacy and negotiating masculinity

Gender studies in general and queer studies in particular have stressed the notion of imitation, play, and performance of gender. In this essay I undertake a comparative analysis of the hijra and the drag queen in terms of the shared and disparate subversive possibilities and limits of the gendered performances they undertake. Studying the hijra alongside the drag queen will in no way mean conflating the two categories. Rather, I explore the cultural nuances involved in the hijra performance, including its ritualistic and religious aspects. While my analysis relies heavily on previously written works about hijras and drag queens, I have also had the opportunity to meet and visit with hijras during several marriage ceremonies of cousins and other relatives from 1992 to 1998 in New Delhi.     

The Golden Girls Live: residual television texts,participatory culture,and queering TV heritage through drag

The SF Golden Girls have been producing live performances of The Golden Girls episodes in drag since 2005, creating an iterative form of fan productivity that consistently resonates with San Francisco audiences. This essay considers the cultural significance of the SF Golden Girls’ live performances as a case study in how queer participatory culture can change the meanings of a residual media object. I argue that the participatory engagement between the audience members and the drag queen performers make The Golden Girls a collective and visible site of queer television heritage, and that producing The Golden Girls Live in drag also offers different logics of representation and engagement than television. These live performances are significant because The Golden Girls has become a symbol of television heritage, and performing episodes in drag explicitly queers a television program that has become a site of cultural memory and historical meaning. Additionally, these performances are staged in December as The Golden Girls: The Christmas Episodes, which restructures television heritage to create a new continuity between the past and present and construct a queered Christmas ritual that is familiar and imbued with historical consciousness.     

Beyond the boundaries of the classroom: teaching about gender and sexuality at a drag show

Like much of the general public, the vast majority of my students strongly hold dichotomous, essentialist outlooks about what the categories female and male/gay and straight are supposed to represent and be. One way that I have found to challenge these oppressive worldviews, and also to queer my classes in the process, is to take my course participants to drag shows and/or to use videotapes of drag queens and drag kings in my classes. As part of an ongoing ethnography of drag performers I am undertaking, I have taken over 300 students to drag shows over the past eight years. Female students have often found attending a drag show to be a fun experience free of the sexual harassment found in most bars, while male students often contextually experience being a social minority for the first time in their life. From both attending drag shows and/or watching recordings of them I show in class, students have reported gaining an experiential appreciation of the performed basis of gender, sexuality, and inequality. Or, stated slightly differently, students begin to understand how the stratification system metaphorically makes drag queens of us all. This, in turn, provides the basis of the foremost argument I make in all my classes: equality will not be realized until nondichotomous, truly new ways of relating to others are envisioned and acted upon.     

The cross-gender performances of Yam Kim-Fei, or the queer factor in postwar Hong Kong Cantonese opera/opera films

This essay is designed as a brief historical examination of the Cantonese female cross-dressing star Yam Kim-Fei, whose hundreds of films and opera performances in the '50s and '60s have made her one of the century's most celebrated transvestite artists. While her craft has often been relegated to studies of gender alone, I assert that the traditions of Chinese operatic transvestism she employs are not merely a relativist historical-artistic mode without political relevance but can be justifiably reclaimed for the purposes of queer interpretation and spectatorship-for indeed their original intent coincides very well with what we call "queer" today.     

Whose drag is it anyway? Drag kings and monarchy in the UK

This chapter will show that the term "drag" in drag queen has a different meaning, history and value to the term "drag" in drag king. By exposing this basic, yet fundamental, difference this paper will expose the problems inherent in the assumption of parity between the two forms of drag. An exposition of how camp has been used to comprehend and theorise drag queens will facilitating an understanding of the parasitic interrelationship between camp and drag queen performances, while a critique of "Towards a Butch-Femme Aesthetic," by Sue Ellen Case, will point out the problematic assumptions made about camp when attributed to a cultural location different to the drag queen. By interrogating the historical, cultural and theoretical similarities and differences between drag kings, butches, drag queens and femmes this paper will expose the flawed assumption that camp can be attributed to all of the above without proviso, and hence expose why drag has a fundamentally different contextual meaning for kings and queens. This chapter will conclude by examining the work of both Judith Halberstam and Biddy Martin and the practical examples of drag king and queen performances provided at the UK drag contest held at The Fridge in Brixton, London on 23 June 1999.     

Wigs, laughter, and subversion: Charles Busch and strategies of drag performance

This paper examines the strategies of drag performer/ playwright Charles Busch. His performance aesthetic is explored and shown to be subversive even though its initial impulse is to entertain. Basing my arguments on the work of Judith Butler, Elin Diamond, and others, I argue that drag queens like Busch can not only entertain but also make audiences question and criticize through drag's power to create a Brechtian alienation effect and historicize the subject. After showing how he can be viewed as a drag queen, I give a brief biography and discuss such contested terms as "camp" and "gay sensibility." I then focus on Busch's staged reading of Ibsen's Hedda Gahler andA Doll's House, both done in one afternoon at Theatre for The New City (6 May 2000). By examining the performance of Busch and his fellow actors, I demonstrate how a contemporary relevancy is achieved by having the roles played by a female impersonator whose acting choices are filtered through a gay sensibility. The ongoing dialectic between spectator and performer creates a historicized moment in performance that underscores the gender dynamics in unexpected and stimulating ways.     

Queering Bollywood: alternative sexualities in popular Indian cinema

In this essay, I demonstrate through numerous examples taken from four identifiable Hindi film subgenres queer themes which, though nontransgressive in their native Indian context, acquire subversive value and serve as queer points of identification when viewed from a non-nationalist bias. Watching particular films with this "queer diasporic viewing practive," sex/gender play which is normative (yet still coded) in the land of the films' production can be reclaimed as queer through the differently subjective lens of transnational spectatorship, a lens removed from patriarchy, sexism, and homophobia. This particularly becomes apparent in the Bollywood dance sequence-the frequent site of Hindi sex/gender play-whose coded queer desires are much easier to de-code (or re-code) when in the diaspora.     

Transformance: reading the gospel in drag

Despite the large body of scholarship on drag and its performance of misogyny, mimicry, and masculinity, little attention has been paid to the role of musical genres in Black drag performance and its reception. This essay explores drag performances of gospel music and its relationship with the spectator at the Biology Bar, a Black gay drag site in Chicago. By examining the shift from the club "space" to the church "place," this research locates several possibilities for queer gospel performances. Through the introduction of a theory of transformance, this essay highlights the contradictions, complications, and complexities of the relationship between the Black church and the Black gay community.     

Suburban queer: reading Grease

This article examines how nontraditional representations of gender can complicate received social norms, and it examines, in particular, how pre-adolescent suburban youth reconfigure social codes within popular film in order to identify positive queer aesthetics. While several studies have documented the function of classic and mainstream film in the tradition of queer reading, there has been comparatively less analysis devoted to the ways that filmic representations themselves might contribute to theoretical debates regarding sexual identity. As a case in point, this essay analyzes the 1978 musical Grease in order to suggest ways that critics might navigate between strict social constructionist and essentialist theories of sexual identity in order to identify avenues for queer identification within non-queer contexts.     

The violence of heteronormativity in communication studies: notes on injury, healing, and queer world-making

Heteronormativity is everywhere. It is always already present in our individual and collective psyches, social institutions, cultural practices, and knowledge systems. In this essay, I provide some sketches for a critical analysis of heteronormativity in the communication discipline. More specifically, I examine the symbolic, discursive, psychological, and material violence of heteronormativity, and begin exploring ways to heal, grow, transform, and contemplate new possibilities in our social world. To accomplish this, this essay is divided into live sections. First, I discuss the study of sexuality in Communication. Next, through the notion of injury, I focus on the violence of heteronormativity. Third, using the concept of healing, I discuss ways of unpacking heteronormativity through a critique of hegemonic heterosexuality. Further, I offer potential ways for queer world-making through the lens of queer theory. I conclude by exploring the need for more sexuality research in the discipline by engaging the productive tensions between constructive and deconstructive impulses.