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Europe Is Burning a Qualitative Study on the West-European Ballroom Culture and the Motivations and Experiences of Its Members

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Europe Is Burning a Qualitative Study on the West-European Ballroom Culture and the Motivations and Experiences of Its Members Europe is Burning A Qualitative Study on the West-European Ballroom Culture and the Motivations and Experiences of its Members Master’s dissertation submitted to obtain the academic degree of Master of Arts in Gender & Diversity Kevin J. Rosseel – 01703154 Thesis Supervisor: Dr. Carine Plancke Academic Year: 2019-2020 Classic Master’s Thesis Wordcount: 23.832 words This master's thesis is an exam document that had not been corrected for any errors. References to this work may be made in publications, with the written permission of the thesis supervisor mentioned on the title page. ABSTRACT This thesis aims to understand the motivations and experiences of West-European ballroom members within the relatively new European ballroom scene. The chosen method is a content analysis of 13 semi-structured interviews, combined with a visual analysis of various online ballroom performances on YouTube. The results show the motivations and the experiences of West-European ballroom members with the ballroom scene, the houses and the gendered performances of voguing and its substyles, Runway, Sex Siren and Realness. The thesis differentiates four main reasons why performers participate in the ballroom scene and its performances: to find a safe space for themselves (1), to find acceptance and support (2), an attraction to the extravagance of the scene (3), and the ability to fully express themselves (4). I PREFACE I would like to use this space to show my gratitude to several persons: Firstly, I would like to thank Dr. Carine Plancke for her time, interest and helpful suggestions in order to improve my master’s thesis. Secondly, this thesis would have never seen the light of day without the thirteen ballroom members that have educated me on their culture, passion and experiences: Syx, A., Savphire, Nunoy, Mamore, Noah, JJ, Brenda, Makaba, Raeesha, Maybelline, Leo and Jay Jay. No person or institution has the excuse of not knowing the history of voguing or ballroom culture with people like them having the time to educate others. Thank you again. Lastly, the death of my father and brother at respectively the beginning and end of this master program was very hard to deal with, especially in combination with my studies and the COVID- 19 crisis. I hope they are proud in knowing that I was able to finish this project and that I would become the first member of our family who has obtained a master’s degree despite the circumstances. Of course, this project would have never been finished without the emotional support and suggestions from my friends and other family members. Thank you. Kevin J. Rosseel, 12th of August 2020 II TABLE OF CONTENTS ABSTRACT .......................................................................................................................... I PREFACE ........................................................................................................................... II TABLE OF CONTENTS ........................................................................................................ III 1. INTRODUCTION ............................................................................................................. 1 2. LITERATURE REVIEW ..................................................................................................... 3 2.1. On Gender........................................................................................................................ 3 2.1.1. The Difference in the Categories of Gender and Sex ............................................... 3 2.1.2. Queer (Theory) ......................................................................................................... 4 2.1.3. (Gender) Performance and Performativity .............................................................. 5 2.2. On Ballroom Culture ........................................................................................................ 6 2.2.1. The American Ballroom Culture ............................................................................... 6 2.2.2. The West-European Ballroom Cultures.................................................................... 8 2.2.3. The Gender System .................................................................................................. 9 2.2.4. Houses .................................................................................................................... 11 2.3 On Voguing and the Performances ................................................................................ 13 2.3.1. The Origin(s) of Voguing ......................................................................................... 13 2.3.2. The Performances .................................................................................................. 13 3. METHODOLOGY .......................................................................................................... 15 3.1. Opting for a Qualitative Method ................................................................................... 15 3.2. Data Collection and Analysis ......................................................................................... 16 4. RESULTS ...................................................................................................................... 19 4.1. The Ballroom Cultures of Europe ................................................................................... 19 4.1.1. On the European Scenes ........................................................................................ 19 4.1.2. On Regional Differences ......................................................................................... 21 4.1.3. On the American Ballroom Scene .......................................................................... 23 4.1.4. On Becoming Mainstream and Appropriation ....................................................... 24 4.2. European Chapters and European Houses .................................................................... 26 4.2.1. On Main and Kiki Houses........................................................................................ 26 4.2.2. On Starting European Houses and Chapters of International Houses ................... 27 4.2.3. On Joining a House ................................................................................................. 28 4.2.4. On the Familial Roles .............................................................................................. 29 4.3. The Gender-Performance System in the European Scene ............................................. 31 4.3.1. On Gender Categories ............................................................................................ 31 4.3.2. On Gender and the Performances ......................................................................... 34 4.4. Motivation of the Performers ........................................................................................ 46 4.4.1. Lack of Safe Spaces for Queer Black People and People of Color .......................... 46 4.4.2. Acceptance and Support ........................................................................................ 47 III 4.4.3. Attraction to the Extravagance of the Scene ......................................................... 47 4.4.4. Needing to Express Oneself ................................................................................... 48 5. DISCUSSION AND CONCLUSION ................................................................................... 49 5.1. Discussion ...................................................................................................................... 49 5.1.1. The European Ballroom Cultures ........................................................................... 49 5.1.2. The Houses ............................................................................................................. 50 5.1.3. The Gender-Performance System .......................................................................... 50 5.1.4. The Motivations of the Performers ........................................................................ 52 5.2. Conclusion...................................................................................................................... 52 5.3. Limitations ..................................................................................................................... 53 5.4. Recommendations ......................................................................................................... 54 REFERENCES .................................................................................................................... 55 APPENDIX A: INTERVIEW QUESTIONS .............................................................................. 63 APPENDIX B: CODING SCHEME ........................................................................................ 65 IV 1. INTRODUCTION In the renowned documentary about ballroom culture Paris is Burning Willi Ninja dreams: I want to take voguing not to just Paris is Burning, but I want to take it to the real Paris and make the real Paris burn. That is what I want to do and not just there, but to other countries as well (Livingston, 1991). Thirty years later, Europe now knows a blossoming ballroom culture: ball events are growing in number due to work of legendary pioneers such as Lasseindra Ninja and Steffi Mizrahi - now named Nikki Gucci - who had brought voguing back to its source. These pioneers have played a vital role in the establishment of the ballroom culture and spreading knowledge
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