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.     

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.     

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.     

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.     

Erotic arguments and persuasive acts: discourses of desire and the rhetoric of female-to-male drag

This chapter analyzes the October 21, 2000 drag king performance by Mildred Gerestant, a.k.a. Dréd. Arguing that her act appropriates, embodies, and manipulates certain ideological discourses of desire and identity, the article studies the shape and force of Dréd's performative arguments and illuminates how a drag king act can not only tease and titillate the addressed audience (the actual people who watched the show) but also hail the invoked audience (the audience called upon, imagined, or made possible by the performance). Arguing that, as a rhetorical act, Dréd's performance offers a purposeful discourse about gender, race, and power, this chapter ultimately explores how a rhetorical analysis of FTM drag elucidates the complex relationship between the rhetor, performance, and audience. More specifically, it shows how a rhetor's performance of non-normative identity and engagement with discourses of desire has the potential to unmask the hegemonic effects of language and power and to unsuture the seemingly natural connections between sex and gender.     

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.     

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.     

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.     

"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.     

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.     

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.     

“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.     

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.     

Three Poetry Books

In this article, I argue that Richard Matheson's (1954) vampire novella, I Am Legend, encodes the protagonist's, Robert Neville, traumatic recognition of his queer sexuality in its monstrosity (the unspeakability of male penetrability). Neville's identification with and desire for his undead neighbor, Ben Cortman, are symbolically codified through three different registers: intertextual references to vampiric conventions and codes, the semiotics of queer subculture, and a structure of doubling that links Neville to the queer vampire. Although Neville avoids encountering his unspeakable queer desire, which could be represented only at the level of the Lacanian Real, he must still confront Cortman's obsessive exhortations for him to come out. Only when he symbolically codifies his abnormality in its own monstrosity, by viewing himself through mutant vampires' eyes, can Neville reconfigure the ethical relationship between self and other, humans and mutant humans-vampires. However progressive Matheson's novella is in its advocacy of minority sexual rights, it still renders capitalism's problematic relationship with queer subjectivity invisible. Although capitalism overdetermines every aspect of the social field and makes Neville's daily life possible in its surplus enjoyment, the fundamental antagonism (class struggle) in capitalism is obscured by the assertion of identity politics.     

Ad/dressing the nation: drag and authenticity in post-apartheid South Africa

This paper examines a style of drag in South Africa that features "traditional African" clothing. In a region in which homosexuality is denigrated as a colonial, European import and "unAfrican," the meaning of "traditional drag" is deeply inflected by the question of cultural authenticity. This dragging practice fits within a distinctly post-colonial production of tradition and its self-conscious display--in the form of attire--of a decidedly "gay" one. Traditional drag also responds to ongoing politics within and between lesbian and gay communities about racial "representivity" and "transformation." The paper focuses on displays of traditional drag at Johannesburg's Gay and Lesbian Pride Parade but also explores the complex politics of publicity and address suggested by varying contexts in which traditional dress and drag are mobilized.     

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.     

Immigrant closets: tactical-micro-practices-in-the-hyphen

The theoretical and material moves within this essay suggest that culturally hybrid agents use the "closet" as a space to negotiate the intersections of sexuality and ethnicity in everyday life. Discussing some conclusions of my ethnographic research project with the Russian Gay and Lesbian Group of West Hollywood, this essay applies Michel de Certeau's notion of tactics to the daily micro-practices of queer identified immigrants as they move between the demands of overlapping and contradictory cultures. Examining the circumstances in the Russian-American-immigrant-imagined community shared by the informants in this site, I argue that, contrary to a popularized valorization of queer "outness," there is a great deal of power in the oscillation between visibility and invisibility.