Chicks with dicks, men in dresses: what it means to be a drag queen

One of the burning questions about drag queens among both scholars and audiences is whether they are more gender-revolutionaries than gender-conservatives. Do they primarily destabilize gender and sexual categories by making visible the social basis of femininity and masculinity, heterosexuality and homosexuality? Or are they more apt to reinforce the dominant binary and hierarchical gender and sexual systems by appropriating gender displays and expressing sexual desires associated with traditional femininity and institutionalized heterosexuality? We address this question through a case study of drag queens at the 801 Cabaret in Key West, Florida. On the basis of life histories, observations of their performances, and focus groups with audience members, we examine the role of gender and sexuality in the process of becoming a drag queen and in the personal identities of drag queens. We find that transgenderism, same-sex sexuality, and theatrical performance are central to the personal identities of these drag queens, who use drag to forge personal and collective identities that are neither masculine nor feminine, but rather their own complex genders.     

“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.     

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.     

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.     

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.     

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.     

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.     

The absolutely fabulous but flawlessly customary world of female impersonators

Our editorial introduction to this volume on drag queens highlights what we believe are some of the most prominent and important themes of female impersonation in the past and today. Building on contributors' articles, a substantial body of literature on female impersonators/drag queens and the social construction of gender, and our own extensive ethnographic experiences in a multitude of drag settings, we first suggest that such individuals can be seen as symbolic representatives of the cultural ideals associated with the feminine and women and how they have changed over time. We next argue that the notion of the effeminate drag queen is more a myth than a reality with the contextual benefits many performers receive-status and power-being indicative of the hegemony of masculinity in male-dominated societies. We next explore how additional social identities, such as race, class, nation, and religion, often impact drag performances and how others interpret them. We end our introduction by offering a model that delineates what are some of the present transgressive limits and subversive possibilities of female impersonation.     

Balancing acts: drag queens, gender and faith

While engaged in research on the same-sex marriage debate in mainline denominations, I interviewed 23 LGBT Christians, four of whom were drag queens. While it is not possible to generalize from such a small sample, the drag queens in this study insist on maintaining their identity as Christians despite the hegemonic discourse that renders faith and LGBT identities mutually exclusive. They developed innovative approaches to reconciling their gender and sexual identities with their spirituality. Their innovations are potentially liberating not just for them personally, but for LGBT people generally because they challenge Christianity's rigid dichotomies of gender and sexuality.     

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.     

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.     

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.     

The beauty and the beast: reflections about the socio-historical and subcultural context of drag queens and "Tunten" in Berlin

In this article, I focus on two different faces found in Berlin's gay subculture: the Tunten and the drag queens. Both are commonly seen as "male homosexual transvestites," although many such individuals today prefer to identify themselves somewhere within a diverse transgender spectrum rather than as transvestites. Tunten and drag queens differ in their gender performativity, their self-image and their chosen role models as well as in the niches in which they have been able to establish themselves in German mainstream society. Based on ethnographic data, I argue against the widespread reductionist view that the differences between Tunten and drag queens lie primarily in style, behavior, talent and success. Nor can these differences be easily explained away as a result of subculture globalization. Instead, I show that there is a simultaneous coexistence of both a subculturally established, "traditional" local transgender culture and a more recently adopted and partly imported, new local transgender culture. The coexistence of these two urban transgender cultures also indicates the paradigm shift in German gay and youth cultures of the last decades. Thus, I will emphasize the importance of the socio-historical and subcultural processes in studying transgender cultures in Western societies.     

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.     

Kind of a drag: gender, race, and ambivalence in The Birdcage and To Wong Foo, Thanks for Everything! Julie Newmar

This paper examines the ways in which two Hollywood films featuring drag queens, Too Wong Foo, Thanks for Everything! Julie Newmar and The Birdcage, offer a kind of "both/and" look at the complexities of gender, sexuality, race, and culture, simultaneously challenging some institutionalized attitudes (especially heterosexism) while reinforcing others (especially sexism and racism)--making the use of drag as a locus of discovery in both films, at best, ambivalent.     

Jewish disappearing acts and the construction of gender

In this essay I propose to investigate the interarticulation of race/ethnicity and gender at two fin de siècle moments: the conceptualization of the Oedipus complex at the turn of the twentieth century and the conceptualization of gender as performative in contemporary queer theory. Though these gender constructions contrast strikingly with one another-queer theory opposes and calls into question the heteronormativity of the Oedipal itinerary-both theories are produced through the displacement of racial/ethnic difference onto sexual and gender difference. One line of investigation in this essay is to relate their difference to the distinct situations of ethnic in-betweenness in which they were produced. Freud's situation as a Jew undergoing assimilation to Western European customs has been compared to that of the post-colonial subject. Judith Butler's and Eve Kosofsky Sedgwick's theories of queer performativity have been located in a post-assimilationist situation in the U.S. of the 1990s. At both moments a doubling takes place but with a radical shift in perspective. Whereas the post-colonial subject undergoes a psychic splitting in which the point of view of the colonizer predominates and promotes assimilation via mimicry, the post-assimilation subject performatively constructs difference, often by a reverse mimicry that involves identification with a subaltern group. Finally, in both situations the notion of "queer incoherence" is deployed not to negate gay and lesbian specificity, but rather to articulate such specificity as historically emergent, on the verge of definition.     

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.