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.     

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.     

“It Has No Color,It Has No Gender,It’s Gender Bending”: Gender and Sexuality Fluidity and Subversiveness in Drag Performance

ABSTRACT

Gender identity is a key question for drag performers. Previous research has shown a lack of consensus about the subversiveness and gender fluidity of drag performers. This article examines the question: How does the relationship between performers and their audience affect the subversive nature and gender representation of drag performers in this study? Furthermore, is this relationship complicated by sexuality? This study uses ethnographic and interview methods, examining experiences of 10 drag performers. Findings indicate mutuality in the relationship between performers and audience. The recursiveness of this relationship provides a constant feedback to the performers in their effort to displace the audience’s previously held notions. The performers have fluid understandings of gender and sexuality, often presenting multiple genders in and out of drag. Interactions between performers and their audience indicate their belief in gender fluidity; moreover, the drag performers themselves desire to be subversive and gender and sexually fluid.     

Making Kings

Due to a general lack of representation of female masculinities within the North American media, most urban drag king cultures have evolved in isolation from each other. As a result, drag kings tend to develop locally specific codes of dress, performance styles and forms of masculinity. This chapter describes the case of a group of Montreal drag king performers, The Mambo Drag Kings (MDKs). It is based on interviews that were conducted for Colleen Ayoup's film Kings (2001), a short documentary that explores kinging by examining the development of this specific group of performers. We present excerpts from our discussions regarding the relationships between everyday gender identities, lesbian sexuality, and performing as a king in a society that is fundamentally based on an asymmetrical sex-gender system. While the chapter does highlight these theoretical concerns, the focus is on how the participants of the group interpret and experience kinging and its impact on their own gendered and sexual identities.     

Grease Cowboy Fever; or,the making of Johnny T

Through a mix of theory, memoir and performance narrative, this chapter examines the making of drag persona Johnny T. as part of a king movement where the dominant cultural paradigm of gender is reconsidered and remastered. As seen in Grease, Saturday Night Fever and Urban Cowboy, pop culture icon John Travolta's particular blend of 50s greaser, faggy 70s disco, and 80s country masculinities are shown to be prime drag king conditions, particularly for a dyke who came of age during the 70s Travolta fever. While drawing from personal experience as a king, current trends in the king movement, and gender theory, this essay calls into question the lines between performing masculinity on and off the stage, inviting us to see both the work and play, the parody and realness, the struggle and liberation that make up the transgressive world of drag kinging and gender variance. Drawing upon gender theorists Judith Butler and Judith Halberstam, gender is exposed as a social construction both produced and performed, and as such, drag kinging is framed as an arena where gender is reconfigured.     

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.     

Walk like a man: enactments and embodiments of masculinity and the potential for multiple genders

With this chapter, I explore the potential of drag king performance as a tool of deconstructing gender. I begin with a brief examination of the ways that gender is constructed as natural through the repetition of a set of norms, noting the pervasiveness of these norms and their location at the center of cultural imagination. I then turn to the idea of drag as a practice of subverting these norms through breaking their repetition. I argue that drag king performance, through its failure to approximate the "natural male," draws attention to the very constructedness of the category, and thus of all naturalized categories of gender. Using the budding Edmonton drag king scene as a case example, I discuss some of the ways that drag kings take queer theory and gender deconstruction out of the classroom and into practice. I speculate as to the effectiveness of such practices in the realm of queer theory, pointing to the ways that these performances may be read to reinforce rather than subvert gender norms. I also look at the complexities of "passing" gender performances, such as transsexual or transgendered practices, and the ways that these practices align or do not align with performances intending to fail. I propose that the emergence of these practices is in itself a beginning step toward a reevaluation of normative gender, and toward a radical reinvention of new gender possibilities.     

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.     

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.     

Queering marriage: an ideographic interrogation of heteronormative subjectivity

Recent debates on same-sex marriage mark the institution, practice, and concept of marriage as a significant site of power and resistance within American culture. Adopting Michel Foucault's conception of "discipline," this essay examines how marriage discourse reinforces heteronormative power relations through its rhetorical constitution of gay male identity. Supplementing "ideographic" critique with Judith Butler's theory of performative speech acts enables us to better interrogate and resist these operations of power. This essay maps the contemporary scene of heteronormative power and resistance through two rhetorical performances of gay male identity. The marriage debates, in the first instance, demonstrate how a conventional desire for masculine agency influences the heteronormative production of gay male identity. In the second instance, gay male SM [sadomasochism] performs a concept of "relational agency," which potentially resists heteronormativity.     

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.     

Moffies, artists, and queens: race and the production of South African gay male drag

This article draws on seventeen months of ethnographic fieldwork in South Africa to explore the experiences of urban and township drag performers. I show that two distinct sex-gender-sexuality systems have emerged based in the sociopolitical history of South Africa, and I argue that urban drag produces race oppositionally and examine how township femininity creates raced forms of gender, sex, and sexuality. Contemporary South African drag foregrounds the performativity and constitution of race and gender. My analysis attempts to challenge definitions of "drag" and "audience," suggesting the necessity for an integrated reconceptualization of drag studies.     

Me boy

Neeve provides an overview of hir personal and political motivations for drag performance as Pat Riarch. Initially based in a discussion of hir youth's gender game, s/he proceeds to elucidate hir location of adult playmates in the gender-bending/drag king community.     

“She Is Not Acting,She Is”

This essay examines the popular television show RuPaul's Drag Race to reveal the ways drag performance provides an ambivalent, contradictory space for wrestling with contentious issues surrounding cultural identity and authenticity in reality TV. Focusing on the show's controversial season three, the authors demonstrate how drag queens subvert and play with ideas of gender “realness” but find an impasse in open discussions of race. The racial minstrelsy of some contestants we observe created antagonisms between black/brown characters and their white/Asian counterparts, exposing a rift in ideas about racial play despite the general acceptance of flexibility in gender bending. Recognizing that reality TV exploits and uncovers these tensions, we demonstrate that while drag performance enacts a subversive mode of queer performance, it provides a contested site and complex semiotic space for dealing with sensitive matters of race/ethnicity, especially when certain forms of stereotyping are rewarded over others.     

Olivia Pope: a black post-feminist subject? Analyzing Scandal’s intersecting post-feminist and colorblind discourses

Previous analyses of Scandal have focused on how colorblind discourse in the series influences the representation of lead character Olivia Pope’s Blackness. Less has been written about how dominant discourses of race and gender intersect in the series. Correspondingly, post-feminist scholarship has overwhelmingly concentrated on discourses of gender in depictions of white women. This article seeks to bridge the gaps between scholarship on representations of race and gender on television. Situating Scandal within the context of post-feminist and colorblind discourses of gender and race that have been prominent on mainstream television since the early 2000s, this article takes an intersectional approach to interrogate how Olivia Pope, a Black woman, is incorporated into post-feminist discourse. Rhetorical analyses of episodes of Scandal’s seasons 1 through 5 uncover how colorblind and post-feminist discourses provide at their junction a restricted space for a Black post-feminist subject. Olivia Pope’s post-feminist characterization comes at the expense of obfuscating how her Blackness affects her identity as a woman, and effectively “posts” her Black womanhood. The visibility of the Black post-feminist subject in colorblind post-feminism is thus paradoxically contingent on the concurrent invisibility of Black women’s experiences and Black feminist concerns.     

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.