Proceedings of GREAT Day

Volume 2009 Article 13

2010 Front and Center: An Anthropological Analysis of Drag Queens in American Culture Seth Palmer SUNY Geneseo

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Front and Center: An Anthropological Analysis of Drag Queens in American Culture Submitted by Seth Palmer In imitating gender, drag implicitly reveals the discipline for being paternalistic, if not the imitative structure of gender itself – as blatantly racist. The process of creating the well as its contingency. Indeed, part of the “other,” however, continues today both in- pleasure, the giddiness of the performance side and outside of the university, creating a is in the recognition of a radical contin- need for scholars to deconstruct the very gency in the relation between sex and gen- categories that are meant to define and con- der in the face of cultural configurations of strain individuals within specific cultural casual unities that are regularly assumed to groups. be natural and necessary (Gender Trouble, In my research on drag queens in 187). contemporary American culture, I have The idea of society is a powerful image. It been interested in finding a language with is potent in its own right to control or to stir which to deconstruct the institutionalized men to action. This image has form; it has gendered and sexualized categories imposed external boundaries, margins, internal on individuals in American society. I have structure. Its outlines contain power to re- been largely unsuccessful in this endeavor. ward conformity and repulse attack. There Rupp and Taylor had the same struggle in is energy in its margins and unstructured their research on drag queens in Key West: areas (Douglass, 137). “Although we argue that drag queens and drag performances break down the bounda- As the discipline has been institu- ries between woman and man, gay and tionalized, anthropology within the academy straight, we continue to use these categories, has traditionally focused on the study of however flawed they might be to identify what “the West” considers to be the exotic, people. In part, the language gives us no the strange, the weird, and the odd. In the choice” (Drag Queens, 5). The Sapir-Whorf late 19th and early 20th centuries, anthro- hypothesis, developed by Edward Sapir and pologists were interested mainly in claiming Benjamin Whorf, speaks to the fact that as “a people” (often considered primitive) individuals whose cognitive categories are from which they could develop a profes- influenced by a specific language, anthro- sional career and academic prestige; for Ma- pologists themselves have difficulty in dis- linowski it was the Trobriand Islanders, for cussing concepts that exist beyond the Boas it was the Kwakiutl, and for Lewis bounds of their own culture. How can I, as Henry Morgan it was the Iroquois. Such a native English speaker, examine concepts attitudes today are highly criticized within of gender that go beyond “male” and 171

Published by KnightScholar, 2010 1 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

and assassination won two Academy and assassinationwontwo Academy nity organizerHarveyMilk’s risetopower Milk dent andPresident,respectively. Thefilm both foughtfortheseatsofVicePresi- candidates Sarah Palinand Hillary Clinton paign, thecelebrated(andreviled)political example. Duringthe 2008 Presidential cam- ready inplaceUtahandMississippi,for adopting children.Similar measures areal- even unmarried heterosexualcouples)from kansas, preventsgayandlesbianparents(or ida andArizona.Act1,whichpassedinAr- state. Similar measures werepassedinFlor- vember, prohibitinggaymarriage inthe Proposition 8inCaliforniapassedthisNo- LGBTIQ communityacrossthecountry. important politicaldecisionsforthe the November 2008electionsledtomany tures intheUnitedStates.Mostobviously, normative genderedandsexualizedstruc- few oftheissuesthathavechallenged American society.Thefollowing arejustof sive sexistandhom voices havecontinuedtocontesttheoppres- MystudyofdragqueensinAmeri- vant overthepastfewmonthsasqueer can culturehasbeenmade increasingly rele- lace. trol overthecontemporary American popu- and sexualitynolongerhavecomplete con- apparent thatstandardconceptionsofgender such movements, itbecomes increasingly the queercommunity today.Because of

androgynous identitymovement within

, describingthepo identities giventhegenderqueerand cuss diversegenderedandsexualized ogies willhavetobecreateddis- the task,newlinguisticterminol- “female?” Despite thedifficultyof ra a 09 SUNYGeneseo GreatDay2009 ophobic structuresof litician andcommu- Proceedings ofGREATDay,Vol.2009[2010],Art.13 tember 30 marry” (Zeleny,1).Morelocally,onSep- lowing abrotherandsisterto couples tomarrywas Mr. Warren saidthatallowingsame-sex cent interview withtheWeb siteBeliefnet, President Obama’s inauguration:“Inare- erend RickWarrentogivethebenedictionat was furtherangeredbytheselectionofRev- pray” (Lyons,1).TheLGBTIQcommunity it comes on theradioIbowmy headand ing…I can’tevenlisten and itsmessage isshameful anddisgust- the song.Itclearlypromotes homosexuality Christian Preachertoldth Ironically, Perry’smother, anEvangelical Song atthe2009Kid’sChoiceAwards. summer, andwasnominated forFavorite Girl” toppedtheBillboa Awards. KatyPerry’shitsingle“IKissed a women andsexualminoritie in partconcernedwiththe representationof State UniversityofNew YorkatGeneseois Even thedebateover curriculum at the will attempt toresolve that issue” (Cioffi, 1). ‘male’ or‘female.’ Thenewhousingproject cal distinction,toiden match asocially-definedgenderorbiologi- coming freshmen, eventhosewhomaynot current housingform, whichrequiresallin- college newspaper,recognizesthat:“The wide. Anarticle inthe taking place oncollege campuses nation- represents thegendere State UniversityofNewYorkatGeneseo -neutral housingoptionon-campus atthe First Amendment. ofagender Theapproval made peopleagainquestionthelimits ofthe Geneseo, approvedbyCampus Scheduling, College GreenattheStateUniversityof th ananti-gaydemonstration onthe no differentfromal- tify themselves as d revolutionthatis tothatsong…when Lamron rd Top100chartlast e pressthat:“Ihate s. Inhisletter , Geneseo’s 172 2 Published byKnightScholar, 2010

trary genderedandsexua tions donotaddress,of raising fosterchildren? Whattheseques- unmarried heterosexualcouplecapable of Are twomothers, twofathers,orevenan afforded tomarried heterosexualcouples? married andthusbeprivytothesamerights States? Shoulditbelegalfortwomento President orVicePresident oftheUnited cal sphere.Isawoman capableofbeingthe and sexualminorities in theAmerican politi- the problematic status ofbiologicalwomen Underneath allofthesei eronormative discoursecanrununcontested. in theUnitedStates,amale-dominated, het- ered tobe one of themost liberal institutions the settingofunive Who cookedtheirmeals?floors? Evenin Whoscrubbedtheir washed theirdishes? freely philosophizedayandnight.Who acquired theresourcesneededtobeable not askhowitcame tobethatsuchmales these “great minds” werewriting; they do fail torecognize the socialstructure inwhich -bodied persons.Theselearnedindividuals philosophy andhistory dence that allof thebestworksof literature, males” (2).Inotherwords,itisjustcoinci- pen tohavebeenwrittenmostly bywhite white males. Theyaregreatbooksthathap- ered greatbecause theywerewritten by Western Humanities Iand IIare not consid- Blackman writes: “Therequiredworksin minds” (1).Similarly, ProfessorLarry

books leftbehindbythegreatest

humanities isthe studyof the great fessor Walter Soffer arguesthat: “the the Western Humanities course, Pro- Force, concerningthedebateover to theCurriculum ReviewTask ra a 09 SUNYGeneseo GreatDay2009 rsity, oftenconsid- course,arethearbi- were writtenbymale ssues, ofcourse,lies lized categories that Palmer: FrontandCenter an actofresistance tosocial norms, United States,dragshould beseenpartlyas the historyofqueer acceptable gender practices.Indeed, given those individualswhodefyculturally- structure that attempts edges, butheavily emphasizes, thepower Additionally, my anal like tobeinabox–I’m claustrophobic.” “People trytoputyouinabox,andIdon’t Champagnetation. Asmyinformant stated: limits ofanysingleanthropologicalinterpre- group ofindividualswhoarebeyondthe perform indragasanextremely diverse contextualize theexperiencesofpeoplewho American culture,Ihave beencarefulto ing usedinader tant shared experiences; theterm isnotbe- group ofindividualsthathavemany impor- a waytofindunityamongst ahighlydiverse tinues tobecontroversia outside ofthecommunity,anditsusecon- is notacceptedbyallmembers withinor once usedagainstthecommunity.Theterm culture isused toreclaim aterm thatwas The word“queer”inacademia andpopular gender, Intersex,andQueer)community. LGBTIQ (Lesbian,Gay,Bisexual,Trans- “queer” willbeusedtoencompass thewhole arena ofAmericanpolitics. literal andsymbolic relevance inthelarger constructed categories, queens speakdirectlytothesesocially- United States.Theperformances ofdrag tant signifiersinpoliticaldecisionsthe “male” and“female,” then become impor- base theiropinions.Suchconceptionsof the American populace uses from whichto In studyingdragperformance in Throughout thispaper,theterm ogatory sense. peoples livinginthe ysis notonlyacknowl- to controlthelivesof andhaveimportant l. Iusetheterm as 173 3 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

cluding suchfilms asPriscilla,Queenofthe American culture through thecinema, in- performances haveenteredintomainstream celebrates them asapeopleworthyofstudy. the UnitedStates, andmostimportantly, alize theexperiences ofdragperformers in disciplinary piecethatattempts tocontextu- ing websites(suchaswww.youtube.com personal pagesofdragqueensonvideoshar- changed overtime. Finally,Ireviewedthe perception ofdragqueenshas,andhasnot, culture togainanunderstandingofhowthe tions ofdragqueensinpopularAmerican students. Additionally, Istudiedrepresenta- held withagroupofyoungqueercollege and afocusgroupdiscussionondragwas conducted with afewselectdragqueens, gay barinRochester, NY;interviews were by watchingdragperformances atasmall the UnitedStates. Fieldworkwasconducted literature ondragandqueercommunities in rary gendertheory,andtheanthropological tural historyofdragperformance, contempo- and analyzedforthisstudyincludedthecul- of thosewhoperform init.Literatureread Foo, ThanksforEverything! JulieNewmar ing Game Victoria Desert www.myspace.com www.facebook.com and socialnetworkingwebsites (suchas examine themeaning ofdragandthe lives

video sharing websiteswillbeutilized to

views, film, andsocialnetworking erature, fieldwork experiences,inter- , TorchSongTrilogy In thispaper, data collected from lit- Recently, representations ofdrag , Birdcage very simplified explanation. although thisbyitselfwouldbea , ConnieandCarla ra a 09 SUNYGeneseo GreatDay2009 , Mrs.Doubtfire ). Thispaperisamulti- and Proceedings ofGREATDay,Vol.2009[2010],Art.13 , Tootsie , andToWong , TheCry- , Victor/ ) . drag, suchasSome LikeitHot Many olderfilms thatportraycharactersin dimensional characters,asseeninTorch however, they arepainted asmulti- in theaudience’s interest; inother cases, are attimes usedasanexoticfeature todraw films, charactersidentified as“dragqueens” would otherwisebebarredfrom. Innewer their identity and/orenter spacesthatthey erosexuals whocross-dr ously confinedtothemargins, arenow address thoseindividuals who,whileprevi- sphere, American society willbeforced to challenging gendernorms inthepublic munity continuetofeelmorecomfortable Additionally, asmembers ofthequeercom- print media, television,film, andcyberspace. fronted withdragperformances through of theLGBTIQcommunity arebeingcon- landscape. Increasingly, Americans outside trialized environments ontheAmerican no longerrelegatedtoliberal,urban,indus- can homes, theconceptof thedragqueen is available inanestimatedmillion 35 Ameri- as theultimate diva.With LOGObeing which dragqueenscompetetobereignedin Paul’s DragRace the LGBTIQcommunity) beganairingRu- cable channel withprogramming thattargets typically involving the police force. light-hearted comedies orviolentthrillers, one oftwoextremes, eitherintheform of drag performances infilm oftenappearas Song Trilogy appearing inthe1959filmSome LikeitHot highly problematic, representationsofdrag over time, with oneofthemost iconic,yet popular culturehavech Such representationsofdragperformance in This winter,LOGO(anAmerican . Overall,representationof , arealityTVshowin anged dramatically ess inordertohide , feature het- . 174 4 Published byKnightScholar, 2010

house ofanthropology: analysis ofgendersandsexualitiesinthe ognizes thefecundityofaperformative formances inandofthemselves. Morrisrec- “normative gendersandsexualities”asper- more importantly, onecanunderstand social constructionthat ties, one can critique on theanthropologyofgendersandsexuali- performance studiesto cept of used inthisstudywas context. The primary theoretical perspective in aspecific historical, spatial andcultural zations asculturalconstructionsembedded standing genderedandsexualizedcategori- tions highlightthe importance ofunder- as “institutionsofambi what anthropologistRosalindMorrisdefines performance studies,andinpartfocuseson

the interdisciplinary

exemplary counter-exampleanda mies inthemodernWest through seat thehegemony dichoto- ofsexual Oscillating betweenadesire toun- tance within thesesame systems. ity, multiplicity, abjection, andresis- systems andtheactualityofambigu- categories ofnormativesex/gender dissonance betweentheexclusive cerned withtherelationshipsand tions, however.Instead,itiscon- formance theoryresists suchconfla- emerging undertheinfluenceofper- The anthropologyofgenderis discipline that integrates theoryfrom ders andsexualitiesisadynamic sub- Thenewanthropologyofgen- gender performativity. Theoretical Orientation fighting forinclusioninthecenter. ra a 09 SUNYGeneseo GreatDay2009 the genderbinaryasa Judith Butler’scon- isperformed, and guity.” Suchinstitu- the existing literature fields ofqueerand Bylinking Palmer: FrontandCenter on thisperspective: this conclusion aswell.Morriscomments Other gendertheoristshavebeendrawnto retical conclusionisbynomeans original. drag performance inandofitself.Thistheo- that allgenderedperfor American culturehasledme torecognize are mandatory” (Morris,572-573). and, intheprocess,come tobelievethatthey that people mistake theactsfor essence derives itscompulsive forcefrom thefact although genderisasetofacts,itworks and goes furtherthanthiswhenshearguesthat, appearance ofacoherent substance…Butler but asetofactsthatproducetheeffector argues thatgenderisnot then becomes something veryfluid:“Butler all culturesenactonadailybasis.Gender, the genderedperformances thatallpeoplein drag queens,therefore,onecanunderstand By studyingthegenderedperformances of genders and/orinstitutionalized sires…In thiscontex supposed todetermine sexualde- only prescribessocial binary difference,adifferencethat What isbeing imitated is theideal of erosexuality isase Western system ofcompulsoryhet- drag, theymean that,likedrag,the tivity saythatallgenderisaform of When theoristsofgenderperforma- kathoey America, the tism” suchas the examples of“inst new anthropologyofgenderseeks… in non-Western systems, much ofthe yearning tolocateresistantpractices My analysisofdragperformance in ofThailand(570). hijra itutional transves- berdache ofInda,orthe t of limitations. mance isinherentlya t, cases of third a factoranessence, rolesbutalsois ofNorth 175 5 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

a stateofperform within queerperformances oneisalwaysin logical import. cles asinstitutionalized performances critiqueallgenderedspecta- it ispartofaqueersub-culture,butthatsuch formance comes notonlyfrom thefactthat tably, thepowerofananalysisdragper- queer, oroften“othered”population.Veri- does notrelegatesuchexaminations toa ance isdrag, onecancreateadialogue that recognition ofthefactallgenderedperform- these exaggerations(Zadjermann). Through Gender Trouble the 1950sand1960spromptedhertowrite themselves. Analyzingboththeaudience which arehighlydiverse groupswithin ence member andoftheperformer, both of ances from boththeperspectiveof audi- however, musttrytoin when thecurtains fall.Theanthropologist, throughout one’slifetime anddoesnotend ture ofgenderassomething thatcontinues emphasizes thecontinuedperformative na- coming awoman (Zadjermann). Thus,she woman, shebelievesthatoneisalways that oneisnotbornawoman, butbecomes a notes thatwhile Simone deBeauvoirargued mentary onJudithButler,Butlerherself and inthestreet.Inaninterviewforadocu- ances that they areproducing onthestage for thegenderedandsexualizedperform- always beingcritiqued,analyzed,andjudged and female gendernorms ofHollywoodin Third Kind,Butlernotes thatthestrict male

ler: PhilosophicalEncountersofthe

In fact,inthedocumentary binary sexuality (580). tivity that underlies the entire logicof It isalsoimportant tonote that framed examplesoftheperforma- tranvestism canbetreatedas inordertomake senseof ra a 09 SUNYGeneseo GreatDay2009 ing ; thatistosay,one terpret suchperform- actswithlittlebio- Proceedings ofGREATDay,Vol.2009[2010],Art.13 Judith But- be- expected toleadastrange andsomewhat were usuallyyoungboys who“wouldbe formance. Bakernotesthat theseactors would worktoperfecttheir owngenderper- tently playtheroleofwomen onstageand this socialfact,certainactorswouldconsis- women fromactingonthestage.Becauseof cause ofarestrictionagainstbiological dressing was essential in Britishtheater be- -up theAmerican social landscape. enced bythediverseethnicgroupsthatmake States has only more recentlybeeninflu- Contemporary dragcultureintheUnited dered performance ontheEuropeanstage. of dragperformance ismainly rootedingen- (or continentalEurope);however,thehistory other thanthose that existed inGreat Britain performance hasborrowed from cultures culture. Itisclearthatcontemporary drag porary dragqueenperformance inAmerican United Statesinordertounderstandcontem- in GreatBritain toitscurrent form inthe study thehistoryofdragfrom itsbeginning this tradition, Ibelievethat itisimportant to and developmental trajectory.Followingin own entity,withitsparticularhistory thropologists shouldstudyeachcultureasits early 20 foundation forAmerican anthropologyinthe Historical RootsofDragQueens this generalization. ber arefarmorediverseanddynamicthan tions betweenperformer andaudiencemem- reasons. However,the drag queensperform primarily foreconomic formances primarily for entertainment, while stage. Audiencemembers come todragper- ologies arenegotiatedonandaroundthe to understand howspace,behaviors,andide- and theperformer allo From aEuropeanperspective, cross- Historical particularlists,whosetthe th century, believed thatcultural an- ws theanthropologist interactions and rela- 176 6 Published byKnightScholar, 2010

performances weresexually-suggestive, and at theturnof thetwentieth century. Such theatrical arenasofburlesque andvaudeville ders orsexualities. Later itentered intothe address political concerns oralternative gen- ances werepurelycomedic, andnotmeant to ceived tobeheterosexual.Theirperform- ances wereenactedbymen whowereper- United States,male-bodied dragperform- ity inLondonpublished1881”(123). Cities of the Plain collection of essayscalledTheSinsofthe Park andbotharedealtwithquitefullyina were Ernest Boultonand FrederickWilliam were widelyknowntobehomosexual. They Baker notesthat“twoofthemost famous female impersonators isnotentirelyclear, While thesexualorientationoftheseearly the roleofwomen: land, itbecame lesspopularformen toplay

introduced women ontothestageinEng- tion asweseeittoday(Baker,103). nings ofthepantomime dame tradi- and herewemay discernthebegin- his burlesqueoffemale characters man calledLacy,becamefamous for tended tomake them comic. One,a their partsgotshorterandthey As theybecame lessindemand, so gan toburlesquetheirfemale roles. from theElizabethanperiodandbe- the refined,serious tors. Theyceasedtoimpersonate on to thelastof the female impersona- For thisiswhatultimately happened

playhouse” (66-67).AfterCharlesII insalubrious atmosphere ofthepublic rowdy populaceinthedangerousand young womanandparadebeforethe Throughout the19 to dressupdailyasafascinating dubious life.Hewouldbetrained ra a 09 SUNYGeneseo GreatDay2009 , asurveyofhomosexual- level thatderived th Centuryinthe Palmer: FrontandCenter women incertainsocialenvironments periences ofbiologicalmen whoperform as life” (21).Chaunceyalso highlightstheex- nymity andsegmentation of metropolitan ban phenomena.Theydependontheano- communities areentirely urbanandsubur- Newton similarlynotedthat:“Homosexual Writing in1972,theanthropologistEsther urbanization: scape onlybecame possible afteraperiod of visible queercultureontheAmerican land- United States,noteshow thepresenceofa scholar ofgayandlesbianhistoriesinthe gay cultureemerges. GeorgeChauncey,a industrial urbanenvironments thatavisible ans” (Chauncey,295). were, withrareexceptions,dame comedi- in women’s clothes onth well: “as the nineteenth century began, men had animportant comic element tothem as kin, anotherwithgayfriends(133). sure; oneidentity before biological one identityatwork,anotherinlei- privileges of thestraight:assuming the gayworldwithoutlosing necessary for them toparticipate in struct themultiple publicidentities made itpossibleforgaymen tocon- city’s socialandspatialorganization on Bowery…Thecomplexity ofthe and bynighttoleadthelifeofafairy any queerwould havebeendenied, by daytoholdarespectablejobthat social worldsandleadadoublelife: possible forhim tomove between neighbors. Butinthecityitwas stant…surveillance ofhisfamily and he hadbeensubjectedtothecon- conventions ofthecommunity,for conform atalltimes tothesocial In hishometown hehadneededto It isnotuntiltheriseofAmerican e professional stage 177 7 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

that] wasregularlycar as ‘swishing’inthegayworld[something ated, swivel-hipped,mincing walk–known identified by “alimp wrist oranexagger- tury” (Chauncey,47).Such men couldbe in theearlydecadesofcen- city’s working-class and amusement districts men visibleinthestreetsof whowere homosexuality wasconsideredapsychologi- defined bytheirpathology. Upuntil1973, as theBowery,theywere firstandforemost accepted inveryspecific urbanspacessuch While thefairies may havebeenmarginally ing toChauncey, ing gaycultureinNewYorkCity.Accord- important geographicspaceforthedevelop- small neighborhoodinManhattan,wasan would” (Chauncey,57).TheBowery,a as anyman might wishawoman them: theybehavedasnotman should,but ventions ofgenderevenastheyviolated drag queens, “Thefairies reaffirmed thecon- fairy” (Chauncey,55).Like contemporary street asasignofthe‘true’ ville stage andoccasionally seen onthe reinforced bythecountlessothereffeminate

pression ofthatlifetheyconveyedwas tury (47). trict intheearlydecades ofthecen- working-class andamusement dis- visible inthe streetsofthecity’s less othereffeminate men whowere veyed wasreinforcedbythecount- the impression of thatlife theycon- most famous symbols ofgaylife,and play attheBowery resortswerethe

famous symbolsofgaylife,andtheim- The ‘female impersonators’ ondis- were labeled fairies, and “werethemost streets, bars,andprisons.Suchmen were notlimitedto,publicparks, Such environments included,but during theturnof20 ra a 09 SUNYGeneseo GreatDay2009 icatured onthevaude- Proceedings ofGREATDay,Vol.2009[2010],Art.13 th century. ances becameincreasingly common in tury, however,male-bodied dragperform- ment of adragqueenidentity. would beanimportant stepinthedevelop- them” (176).Thisgenderedperformance ting ona‘show’fortheothercustomers of matters, dancingwiththeirfriends,evenput- gather inpublic,sp Some ofthemboldlyclaimed theirrightto restaurants, cafeteriasand speakeasies. they negotiated their presence inthecity’s “gay men pursuedavarietyofstrategiesas homosexual toothers.AsChaunceynotes: “feminine” manner toidentify themselves as Gay men, then,wouldoftenperform ina sition wasunaffectedbyhissexuality”(43). ogy. Nothingthatwentintohistotalcompo- anatomy andpossiblyamysteriousphysiol- form, andamorphology,withanindiscreet in additiontobeingatypeoflife,life age, apast,casehistory,andchildhood, cording toFoucault,he “became aperson- homosexual wasamarked individual.Ac- sex drive).Duringthis tionally masculine men witha“perverted” sexuals, butas“perverts”whowereconven- active rolewerenotperceivedofasahomo- ual encounters atthistime, men takingthe was internally awoman (inmale-male sex- other biological men because oneofthem biological men couldonlybeattractedto forced compulsory heterosexualitybecause In otherwords,themedical community rein- ing whytheywereattractedtootherwomen. sexuals hadamasculine spirit,thusexplain- attracted tomen. Likewise,female homo- spirit, thusexplainingwhytheycouldbe ing thatmale homosexuals hadafeminine standing ofhomosexuals as“inverts,”mean- the nineteenth century, createdanunder- gists, beginningaround cal disorderintheUnitedStates.Sexolo- After theturn of thetwentieth cen- eaking loudlyaboutgay time period,themale the second-halfof 178 8 Published byKnightScholar, 2010

standard featurein gay audience.Thisbuffoonery became a gay men, tothehootsan typical mannerisms tomimic andridicule as “straight actorsputt formances toblackface,characterizingthem tified asheterosexual.Chauncey theseper- Sometimes, however,such again oftentoheterosexualaudiences. formed theirsexualorientationonstage, highly effeminate homosexualmen whoper- Pansy actswereperformances givenby yeuristic pursuits: notes the connection between thesetwovo- mosexual performances onstage.Chauncey ances; theywouldalsogotowatchmale ho- to listen toAfrican-American jazz perform- during thistime periodinAmerican history residents ofNewYorkwent“slumming” tural movement. Upper-classheterosexual to theProhibitionera,embodiedthiscul-

Craze, whichhitNewYorkCityjust prior ‘perversity’ ofgayculture”(309). equally intriguedbythe black culture,heterosexualswere trigued bythe ‘primitivism’ of lowed it…If whiteswere in- the pansycrazethatsoon fol- the mid-twenties set thestagefor many waysthe‘NegroVogue’of aspect ofthisphenomenon, andin performance isthebest-known with African-American jazzand white middle-class clubgoers to thegrowingfascinationof presarios tocultivateandrespond

gay worldofNewYorkCity.ThePansy became increasingly visible within the performances byfemale impersonators bition Era inthe1920s,dragballsand “The effortsofnightclubim- ture. ParticularlyduringtheProhi- urban areasdominated bygaycul- ra a 09 SUNYGeneseo GreatDay2009 the burlesqueandhigh- ing ondragorstereo- d jeersofananti- performers iden- Palmer: FrontandCenter structure thatprevented drag performances way ofreinforcingthevery hegemonic remained illegal(384). Suchactions werea York andSanFrancisco in the1960s,drag sex. AccordingtoSenelick, eveninNew cles ofclothingthatmatched theirbiological required individualstow Laws werepassedacrossthecountrythat ture female impersonators”(Chauncey,331). night clubs,especiallyof thosewhichfea- nounced: “There willbeashake-upinthe lice Commissioner EdwardMulrooneyan- West Fifty-FirstStreet.”Thenextday,Po- Eighth Streetandth lice] raidedthePansyClubonWest Forty- the nightofJanuary28,1931,they[thepo- clubs featuringfemale impersonators…on city’s newspapersbeganacampaign against milial ties.Infact,by1931“severalofthe often leadingtolossofemployment orfa- names beplacedinthenewspaper, would only wouldtheyserveasentence,buttheir lice; ifanindividualshouldbearrestednot bian barswererout solidarity” (Chauncey,353).Gayandles- tween acceptable andunacceptable public years andtheblurringofboundariesbe- perceived “excesses”oftheProhibition 1930s waspartofalargerreactiontothe “The revulsionagainstgaylifeintheearly fell underincreasinglyheightenedscrutiny: and gaylesbiansculturesingeneral, over American society,dragperformances, 1929 andtheGreatDepressionEra loomed New YorkCity. Malin became famous fo tion ofalcohol.PerformerssuchasGene ness thataccompanied theillegalconsump- and embodied thedaringsenseofrebellious- als” (310).Theywe the dominant public image ofhomosexu- class cabaretvenuesalike,whichreinforced After thestock market crashedin inely raidedbythepo- e ClubCalaisat125 re incrediblypopular, r theirpansyactsin ear atleast fivearti- 179 9 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

known nowas‘genderfucking’…and Iwas- arms, moustache…which iscommonly drag perse.Dragwasa hairy chest, “when Ifirstarrivedout here, dragwasnot on FireIsland, toldEsther Newtonthat: Teri Warren, adragqueenwhoperformed or theywere completely comic innature. meant figures, toimpersonatefamousfemale formances priortothediscoerawereusually queen performance intheUnitedStates,per- ralism inAmerican culture. (although stillcloseted tive policies, andto performances tochalle Jewel BoxRevuebrokegroundforfuture 380). Asthefirstinte win acceptancethroughcomedy (Senelick, was gearedforstraight audiences,aiming to tirely byhomosexuals,theJewelBoxRevue a gaybarandwasmanaged andstaffed en- States. However,“althoughitoriginatedin most famous dragvenueintheUnited in Miami. Thiswouldsoonbecome the 193). In1939,theJewelBoxRevueopened and dressedinappropr Ken Stein;thecopsabsurdlyworeperfume always knewwhenraidswerecoming, said ries posingashomosexuals, theferryowners “Since thecopsoften to perform ashomosexuals themselves: restrict gayandlesbia 333). Ironically,however,policeattemptsto return ittothecity’s

ties, theauthorities were determined to

tainment district, butintheearlythir- of NewYork’smost prestigiousenter- gay visibilitytomove intothecenter Following thelargertrendsofdrag “Prohibition culturehadallowed from entering mainstream culture: ra a 09 SUNYGeneseo GreatDay2009 createamore open periphery”(Chauncey, n cultures forcedthem rracial dragclub,the went overonthefer- iately” (CherryGrove ) dialogueaboutplu- nge restrictive legisla- Proceedings ofGREATDay,Vol.2009[2010],Art.13 , background” (CherryGrove n’t intothatform ofdrag,soIstoodinthe Grovers” (Cherry Grove which offendedconservative gags andveryexplicitsexualsuggestions men tended towardbroadandvulgarsight When theydidcomic drag,working-class the wordsofarecorded female vocalist. former simply mouthed, or‘lip-synced’to formances: “Inmost glamourdragtheper- that differedfrom previousdragqueenper- disco eracame theconceptofglamour drag can Americans, LatinoAmericans, and clear whatimpactNative Americans, Afri- may suggest.While itisnotcompletely pean past,despitewhatmuch scholarship the UnitedStates isnot restricted toa Euro- members ofthequeercommunity. spaces tocreatesocialsolidarity amongst formances were(andare)enactedin private tions” (CherryGrove portant venuesofcamp representa- ductions… theme partieswerethemost im- such performances: “Besidestheatrical pro- larly teaparties,wereapopularvenuefor private spaces.Houseparties,andparticu- would oftenrestrictsuchperformances to forming indragapublicspace,gaymen police raidsandthephys norm” (CherryGrove culture inwhich camp wasthe tion onthemainland, butanevolvingsub- only anescapefrom heterosexualdomina- and boldlytocreate a‘gay reality’ –not gender reversalwereusedevermore openly witty repartee,parody,double-entendre, and claim aterritoryastheirown:“After1950, allowing residents,particularlygaymen, to serts thatdragplayedanimportant rolein The cultural mosaicthat makes up , 77).Thus,dragper- , 75).Duetoconstant , 174).Newtonas- ical dangersofper- , 174).With the 180 10 Published byKnightScholar, 2010

After beingpulledover, the officermade cop shethought:“we’re when Davidstuckhishead outtotalkthe dressed indrag.Champagne statedthat friend drivingthecar,David,wasalso was ridinginherfriend’scardrag.Her was pulledoverbyapoliceofficerwhileshe from Schenectady,NewYork,notedthatshe police force.Champagne, adragqueen tinue tohaveanuneasyrelationshipwiththe Foo local lawenforcemen escape thegraspofanangry,homophobic drag queensmustgoontheruninorderto Thanks forEverything!JulieNewmar ment (TheAdventures gle tosurvive inahate attacks inthe Australianoutback,and strug- three drag queens faceviolent, homophobic cause sheidentifies astransgender.The faces hecklingfrom theotherqueens be- his son.Anotherdragqueen,Bernadette, cult struggle of revealing hisreal identity to for example, onequeen,Tick,facesadiffi- ventures ofPriscilla,QueentheDesert often reflectthisstigmatization. InThe Ad- sub-culture. Representa stigma bothoutsideofandwithintheirown tional genderperformance, dragqueensface Drag Queensas“Other” stage. queen performances are“racialized”onthe this paper willbe devoted tohowdrag

communities of color.Anothersection of

). Eventoday,some dragqueenscon- been appropriatedandalteredwithin ous theconceptof“dragqueen”has queen” intheUnitedStates,itisobvi- As individualswithanunconven- historical evolutionofthe“drag Asian Americans havehadonthe ra a 09 SUNYGeneseo GreatDay2009 t official(ToWong ). InToWong Foo, -filled socialenviron- tions ofdraginfilm all going tojail.” Palmer: FrontandCenter , three , ment” (DragQueens drag queenshavebeenanembarrass- phile movement ofthe1950’stopresent, of gayandlesbianactivism, from thehomo- similationist ‘We’re justlikeyou’ tendency and Taylorconcur,stating:“From theas- class, andgendernormative” (227).Rupp implicitly marking ‘gay’ aswhite,middle feminate men, andtheleathercommunity– lesbians –dragqueens,butchwomen, ef- representing non-‘respectable’ gaymenand mainstreamed theirgoals how many queerrightsorganizationshave who specializesintran States. DavidValentine,ananthropologist within the queer community intheUnited free tooppressothers,andthesame istrue for whotheyare. and theinability of society toaccept them ture oftenfocusontheirmarginalization, Narratives ondragqueensinAmerican cul- “you letitrolloffyourbackandmove on.” actions withthepolice,Champagne said friends. Inresponsetothesekindsofinter- laughing atDavid,Champagne,andtheir cle andsaid“okay,youcangonow”while nally, thepoliceman camebacktothevehi- and flashedtheirspotlightsinthecar.Fi- of time otherpolicecarsdrovepast while them waitintheircarforanextendedperiod als. Chaunceynotesthat: types that society placed onmale homosexu- towards fairiesforembodying thestereo- the first half of the20 queens today,certaingayAmerican men in they felt withthem asfrom the resulted asmuchfrom affinity the toward thefairies, though,may have The resentmentmany gaymen felt Oppressed groupsoftenfeelquite , 185).Likedrag th sgender studies,notes centuryfeltangry “attheexpenseof 181 11 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

Camp unless theyarerecogni one onthestreet or inany otherpublic place sonators must learnisnottorecognizeany- and oneofthefirstthingsthatfemale imper- low endofthecontinuumstigmatization, overt. Theyareconsistently placedonthe considered bymost homosexualstobetoo nity: “Forinstance, female impersonators are queens were stigmatized withinthe commu- 1960s, EstherNewtonalsofoundthatdrag

The dragqueen symbolizes allthat (104). ‘less extreme’form ofthefairy on whichtheyrepresentedmerely a to thepublicstereo as partofacontinuum linkingthem extent towhichtheysawthemselves ‘extreme homosexuals’ suggeststhe

profess total lackof interest inthem. mosexuals deploredrag shows and from ‘drag’completely. Theseho- tempt todisassociate themselves queens underanycircumstancesat- selves or beidentifiedas drag who donotwanttothinkofthem- but notinanout-groupone.Those be allrightinanin-groupcontext ‘nigger.’ Andlikethatword,itmay term ‘dragqueen’ iscomparableto fact, thestigma. Inthisway,the feel guiltyabout;he in themselves, allthatthey saythey homosexuals saytheyfearthemost ‘swishes’ as‘obvioustypes’or referred to‘flaming faggots’ or , 25).Newtongoesontonotethat: styles. Thefactthatmany men In herresearchondragcultureinthe from thedifference intheir affinity they felt withthem as ra a 09 SUNYGeneseo GreatDay2009 type, acontinuum zed first”(Mother symbolizes,in Proceedings ofGREATDay,Vol.2009[2010],Art.13 mainstream gaymen anddragqueens (106). Eventoday,antagonism between gay men wereapartofthemiddle-class working class, andthemajority masculine as themajority of fairies wereapart of the fairies wasreallyaki tagonism betweenmasculine gaymen and 241) homosexuality laughedat’”(CherryGrove hostile towarddragbeca son, “understoodthatthegaymovement was Cherry Grove’sstardragqueens,DickAddi- personation” (CherryGrove supplement theirincomes from im- female mate employment thatwouldallow them to ented becamehairdressersastheonlylegiti- tion; many ofthemore andtal- ambitious tling, whichcompounded theirstigmatiza- ers orthosewithdrug poorest andleastaccomplished asperform- support themselves economically: “The a dragqueenmade itdifficultforthemto Newton notesthatthesocialstigma ofbeing During thissame timeperiodonFireIsland, the subculture(MotherCamp queen isdefinitelyamarked man in heterosexual culture.Thedrag ‘projecting thewrongimage’to ies for‘givingusabadname’ or female impersonators andstreetfair- in homosexual contexts,butdeplore sexuals admire dragandqueens heterosexual culture.Thesehomo- do notwanttobestigmatized bythe being queensamong themselves, but queen. Otherhomosexuals enjoy between themselves andthedrag the expressionofvastsocialdistance one ofcondemnation combinedwith Their attitude toward drag queens is . Chaunceyalsosuggests that thean- nd ofclassantagonism, habits turnedtohus- use ‘theydon’twant , 133).Oneof , 104). , 182 12 Published byKnightScholar, 2010

der dichotomy. often sexually-explicit tive homosexual agendasthatrestricttheir must resistbothheterosexualandconserva- In theirperformances, then,dragqueens similarly notesthat: stigma thatdragqueensembody. Berkowitz ances, onemustalsorecognizethedouble analyze thepoliticalim whole” (355).Thus,whenonebeginsto within the gay community asa occupy alower, more stigmatized position homosexuality aseffeminacy andtherefore queens literallyembody thestigma ofmale chy withinthegaycommunityinwhichdrag “Likewise, thereisaninternal socialhierar-

Atlanta, GeorgiaMcNealnotedthat: bizarre (13). havior isperceivedasunusualand creases thelikelihoodthatthisbe- small number ofdragqueensin- tities. Furthermore, therelatively the effects of multiple negative iden- ual crossdressers,andthusendures tized groups,gaymen andheterosex- sists of theoutcasts of twostigma- queen ispartofasubgroupthatcon- erosexual transvestites.Thedrag non-cross-dressing gaymen andhet- rated from thestigmatized groupsof mainstream society,butisalsosepa- that isnotonlylabeledasdeviantby Drag queens comprise acommunity

thropological studyofdragqueensin is goingtobeadragqueen.”Inhisan- friend asserted:“noboyfriendofmine terviewed, statedhowaformer boy- persists. Champagne, whom Iin- ra a 09 SUNYGeneseo GreatDay2009

critiques ofthegen- port ofdragperform- Palmer: FrontandCenter them” and“byallowingpeopletobehave and restraintsobviously serves toemphasize argues that:“thelifti African ritualsofi the establishedorder.”From hisanalysisof “intended topreserveandeven…strengthen norms; somehaveevenarguedthattheyare that suchritualsofinversionsubvertcultural signments.” Notallanthropologistsbelieve tion ourstereotypesandgenderroleas- considered dragnow.Dragmakes ques- us what men woreasregularclotheswouldbe havior. Ifyoulookbackathistorysome of We arenotbornthatwa comes tohairstyle,makeup, [and]clothes. tated howeachsexshouldlookwhenit gender: “Itisweashumanbeingswho dic- can revealthe socially-constructed natureof forms inRochester,believesthatdragshows cieties: gender.PandoraBoxx,whoper- tant organizingprinciplesinallhumanso- queens aredisruptingoneofthemostimpor- categories of “man” and“woman,” drag Dicks”, 116).Inotherwords, byconfusing heterosexual gendercodes”(“Chickswith becomes aweapontocontestthedominant the socialbasisofgenderandsexuality tests, thebodyofperformer highlights politics ofthebody Drag performances arealsolinkedtothe said toshow uptheartificeofgender”(583). fabulously artificial, these performances are agrees, notingthat“Bymaking genderso binary. Anthropologi constructed natureofgenderandcritiquethe drag performances revealthesocially- United Stateshasbeenwell-documented; formances inqueercommunities inthe Subversive Politics:DragasaPoliticalAct The subversivepowerofdragper- nversion, MaxGluckman because:“Insuchpro- ng ofthenormal taboos st RosalindMorris y. It’salearnedbe- 183 13 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

Taylor andRuppagree: “We suggest that are notartisticperformances forart’s sake. Trouble ceptions asthe“reality”ofgender” (Gender one takesthe firstterm ofeachthoseper- a woman orawoman dressedasaman, then If onethinksthatseesaman dressedas litical agency.Thepointisratherdifferent. versive actionor,indeed,asamodel forpo- a mistake totakeitastheparadigm ofsub- they interpret theperf the actor’s“true”biologicalgenderbefore ther, arguing thataudience members assume think Ijustlactated.” informed thataudienceonenightthat:“I Ambrosia Salad,adragqueeninRochester make commentsabouttheirfeminine bodies; speak inlowbaritonevoices.Theyalso appear tobeparticul American culture.Drag queens,whocan notions of “masculinity” and“femininity” in time, yetitcontinues tochallenge traditional the UnitedStates hascertainlyevolvedover is notconsideredacceptablebehavior. fers willevolve, changing whatisand what “established order”to Through time andspace,thevery nize the dynamic quality of cultural systems. spective hassome validity,itdoesnotrecog- bounds” (Gluckman, 125).While thisper- keeps this rebellion within very ritualsofrebelli [which] seems toallowunbridledlicense,

as rightandgood,evensacred,

“the acceptanceofth of socialorder”(115-116).Itis,then normal rightness ofaparticularkind The practiceofdragperformance in , xxiii).Insum, dragperformances expression, inareverseform, tothe normally prohibited ways,gave ra a 09 SUNYGeneseo GreatDay2009 arly convincingwomen, Butler goesevenfur- on, fortheorderitself ormance: “Itwouldbe whichGluckman re- Proceedings ofGREATDay,Vol.2009[2010],Art.13 e establishedorder ity” (DragQueens tional thinkingaboutgenderandsexual- which identityisusedtocontestconven- cial performancebutasapoliticaleventin should beunderstoodnotonlyascommer- drag asperformed atthe801[Cabaret] cial tofurtheringaga AIDS inthegaymale communitywascru- States, particularlyduringtheoutbreakof gay andlesbian activism intheUnited in theU.S.Indeed,theatricalaspect of always been political for queercommunities tistic, theperformative, andtheculturalhave that herperformances arepolitical: performs inRochester,definitelybelieves hind thescenes? they aredealingw out andsmile tothepeople while own versionofadragfaceandgo How many politiciansputontheir the appearanceofsomeone else. way too.Dragisallaboutputtingon ken. American politicsaredragina become morepoliticalandoutspo- more visibleisdoespoisedragto think becausedragqueensareoften becomes political at somepoint.I Anything thatgoes ticization and AIDSawareness space haveproliferated sites ofpoli- tion betweenpublicand private has disruptedthecloseting distinc- “outness” bywhichqueeractivism tice of“die-ins”andthetheatrical “performance” ofdeathintheprac- sibility: thehyperbolic politics is,Iwouldargue,animpos- litical withincontemporary queer “To opposethetheatricaltopo- Judith Butleremphasizes thatthear- , 2).Pandora Boxx,who y andlesbianagenda: ith the devilbe- against thenorm 184 14 Published byKnightScholar, 2010

You know,Imean likejustazoo”(Cherry was theattitude…’Oh, started tospray. Thatwas terrible. Butthat took acanofRaidandwentoutsidejust daughter’s here!’…Andanothertime she jumped said,‘Come upand onin,your cute, they’reeating!’WhereuponBabe husbands standingbehind[said]‘Oh,how noted thatonetime “agroupofwomen, with homes duringthe1970s.Amelia Migliaccio regularly spyongaysandlesbiansintheir Fire Island.Heterose out ofdragwasdocumented byNewtonon tance withinthegayandlesbiancommunity Grove

Matter search andoutreach” (Bodies That government fundingofAIDSre- attention and outragetothefailure of activists infavorofdrawingpublic of publicforums bylesbianandgay of thelesbian; tactical interruptions tively countersthede-sexualization sexuality andiconographythateffec- tivism; performing excessivelesbian of theatricalwork benefits forAIDS…theconvergence by QueerNation;dragperformance cisco); die-insbyACTUP,kiss-ins York City)andtheparade(SanFran- the slidingbetween themarch (New walking, butch-femmespectacles, cross-dressing, dragballs,street history might includetraditionsof

cality forqueers isatstake…Such a increasing politicization of theatri- , 247) tories might betoldinwhichthe An example ofperformativeresis- Indeed, animportantsetofhis- throughout thepublicrealm. , 233). . Champagne, adragperformer ra a 09 SUNYGeneseo GreatDay2009 xual touristswould with theatrical ac- look, they’reeating.’ Palmer: FrontandCenter during theearly20 pansy (notadragqueen)inNewYorkCity example, Malin,whoperformed asa Gene powerful performances ofresistance.For have usedtheirpersona there” (Drag Queens viewed bythemovement, havebeen 1969, dragqueens,howeverambivalently night oftheraidatStonewall Innin queen chorus linechallengingthepolice the queen andpoliticalcandidate,tothedrag lesbian movement. FromJoseSarria,drag also beenimportanttotheorganizedgayand and Rupp,whonoted:“theirresistancehas lesbian movement wasnotlost onTaylor portance ofdragqueensinthelargergayand wouldn’t bewheretheyaretoday.”Theim- if itwasn’tforstonewall,alotofgayrights queens whowerepulledoutandarrested… bunch ofgaymen andlesbians,itwas drag larly duringtheStonewallRiot:“itwasn’ta larger gayandlesbianmovement, particu- role thatdragqueenshaveplayedwithinthe from UpstateNewYork,notedtheimportant to standupfor himself: 316). the originalfoursome (Chauncey, tance ofthesurvivingmember of taxi drivers coming totheassis- fight wentinto thestreet, withtwo three of them intoinsensibility, the pitched intothem. After beating water athimashedancedby, looking birdstossedapitcherofhot clothes…when apartoffourrough ing botheredtochangehis dered intoacafeteriawithouthav- wich Village dragball, hehadwan- ‘best dressed woman’ ataGreen- After winningaprizeforbeingthe th Century,wasnotafraid ,186). Dragqueens to enactparticularly 185 15 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

members: members: Bless America.” Amelia, aparticipant, re- pated, andastheymarched theysang “God wearing “themost ridi protest. Betweeneight dressed indragandmarched tothePines in group ofgaymen (andat “not properlyattired.”Aftertheincident,a dinner, but wasnotserved becausehe was gay communityonFireIsland)indragtoget Pines (aprimarily upper-class,conservative, Italian-American drag queen wentto the the Pines.ItbeganwhenTeriWarren, an ance inAmerican culture istheInvasion of they arestilllookingforacure.” people, itstillexists,weneedmoney, now –it’s[referringtoHIV/AIDS]stillhere know becauseit’skind responsible…a lotof want tobepoliticallyaware andyouknow make ofwhat’sgoingon,you them aware to updatethem [theaudience],youwantto queen performing inherbenefit“youwant AIDS.” Champagne sa performing becausetheyhave“died of edges thatalotofdragqueensarenolonger sonal issueforChampagne, whoacknowl- Benefit, whichshespearheads.Itisaper- HIV/AIDS throughtheannualSnowball money for children andfamilies affected by history isnotloston get peopleawareofwhatthiswas.”This when itfirst wasthegaycancer…trying to

out anddoingbenefits,givingmoney

was thedragqueenswhoweregoing “when AIDSandHIVfirstcame outit tion ofHIV/AIDSintheearly1980s: An important ritualofdragperform- drag queensreactedtotheintroduc- Champagne alsodiscussedhow ra a 09 SUNYGeneseo GreatDay2009 peopledon’tfucking Champagne, whoraises culous drag”partici- a likereallyblasé andfourteenpeople, ys thatasadrag Proceedings ofGREATDay,Vol.2009[2010],Art.13 leasttwolesbians) and reassertsgaynationalism” (Cherry vidious classandgenerational distinctions on kinshipandcommonality…bridgesin- 270). Newtonarguesthattheritual“insists worn bySarahPalin.In theperformance glasses, awigandwardrobe similar tothat Lake thencame outontothestagewearing ester, NY]from herhouse.”MissDarienne she canseeIrondequoit[locationnearRoch- you…she wasjustdebatingagainstBiden… audience. “Wehaveaspecialtreatfor loud setofapplausetheneruptedoutthe A politics? ence: “Howmany arefollowing the show,AmbrosiaSalad,askedaudi- queen performasSarahPalin.Theemcee of my fieldworkwaswhenIwitnessedadrag Grove numbered inthethousands”(CherryGrove and thecrowd awaiting them therecouldbe ferry tocarry alltheinvaders tothePines, late 1980sittookthe largest double-decker This protestbecame atradition,and“bythe (Cherry Grove were theretheyboughtusadrink of] andtheyweresoecstaticthatwe rant thatTeriWarren waskickedout went intotheBlueWhale [therestau- And wejustwalkedaroundand they thoughtitwasreallyfunny. everybody startedtolaugh,Imean kill us.”…But whathappened was we’re gonnadiehere.They’re saying, ‘We’re gonnadie,Iknow don’t knowhowtolive.’AndI’m people areplastic’or,‘Pines people carrying thisbigsign. we gotoutoftheboatandNickis say, ‘whatthehellisthat?’…Well, So…people …startedtolookand , 271). A particularlypoi , 269-270). gnant moment in Itsays,“Pines , 186 16 Published byKnightScholar, 2010

lor observeddragqueen performances. InKeyWest,Rupp and Tay- are made asside-barcommentaryin drag audiences. theme thatdragqueenstrytobringtheir as SarahPalin,aresexual,andthisisa even socially-conservative politicians, such nence-only education.Allhuman beings, hypocrisy of apoliticianwhosupportsabsti- feminist perspective,itdoespointoutthe representation isclearly mom wholosesherlipstick.” While this Ambrosia Saladsaid:“She’s acock-sucking In fact,afterherperformance theemcee, the notionofSarahPalinasasexualbeing. socially-conservative façadeandplayswith highly sexualized;ina representation ofSarahPalin,however,was two terms inoffice.MissDarienneLake’s President GeorgeBushsupportedduringhis segment RepublicanPartythatformer ofthe and represented thesocially-conservative Palin sparkedfearinthequeercommunity, munity. Asasocialconservative,Sarah American conservatism andthequeercom- tary, gendercritique meaning; itcanberead nographic moment washeavilysteepedin American washergreatestasset.Thiseth- Palin’s abilitytospeak thecommon political commentators’ “she’s veryfolksytoni After theperformance, AmbrosiaSaladsaid

tongue actionandrevealedalargebosom.

was highlysexualized;sheusedalotof that women sport.Herperformance multi-faceted rolesandpersonalities Often, overtlypoliticalstatements “Bitch,” whichemphasizes the . shesangMeredithBrooks’song ra a 09 SUNYGeneseo GreatDay2009 , andthehistoryof ght” inreference to way thiscountersher aspoliticalcommen- opinionsthatSarah problematic from a s “talkaboutthegay Palmer: FrontandCenter included: erning body”(466).Theirpoliticalactivism Board ofSupervisors,San Francisco’sgov- Sister Boom Boom…ran forapostonthe ter SearchingforMen.Thefollowingyear, Homo Fellatio,SisterHy cluding SisterMissionaryPosition, tained fifteensistersandtwonovices,in- As Senelicknotes:“By1981theordercon- tivism present inthe Roman CatholicFaith. course aparodyonthest are clearlypoliticalinnature,andof lic nuns.Theirhighlyvisibleperformances ers whowearthetraditional attireof Catho- tional organizationconsistsofdragperform- brought upintheconversation.Theinterna- seo, theSistersofPerp the StateUniversityofNewYorkatGene- among collegestudentsandalliesat queer Americans. Inafocusgroupdiscussion makes itsointriguingtoyoung,queer rebellious natureoftheperformance that community are.Infact,itistheradicaland formances assome oldermembers ofthe not seem tobeasembarrassed bydragper- Gore wassupposedtowin.” for some of you…Youknow,backwhen hanging chads…maybe thisistoolongago cried out:“Youknowthestatewith performer from Florida,Ambrosia Salad work aswell;whenintroducingavisiting observed suchstatements duringmy field- and discrimination” (DragQueens and lesbianmovement, AIDS,gaymarriage, us protectourselves.’They the prejudiceofRonald Regan/Let public events, forexample, ‘From reciting litaniesa Young queersasawholeseem do nd antiphoniesat etual Indulgencewere rict socialconserva- sterectoria, andSis- , 143).I 187 17 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

formance triestocreatea sense ofunity ence asawhole,andthroughout theper- lead byanemcee whowelcomes theaudi- found thatdragperformances arealways shit.” Inmy fieldworkinRochester,Ihave think thesame…we “we’re allpeople…we breath thesame…we beings share.AsChampagne emphasized, seem toemphasize theunity that all human sexual orientation specifically), theyalso their performances (interms ofgenderand differences betweenaudience members in lifestyle. youth totryconvertthem toahomosexual that gaymen andlesbianshaveto“prey”on assertion inmainstreamheterosexual culture asserted: “they’re recrui period ofcollectivelaugher,athirdstudent “they’re doingmissionary work.”Aftera ately, anotherstudentinterruptedsaying: world, theyareallovertheplace.” Immedi- Perpetual Indulgence]areeverywhereinthe Onestudentnotedthat:“they[Sistersof

ual (468). eral ofthem female and/orheterosex- benefit there werethirtysisters, sev- dence in1989withaformal ADIS celebrated theirDecade ofDeca- and gayrights.Bythetime they pearances todebatepoliticalissues They made frequenttelevisionap- Tomlin, andShirleyMacLaine. travelers asHarveyFeinstein, Lily conferred sainthoodonsuchfellow-

readings ofTheSatanicVerses,and and PhyllisSchalfly;gavepublic vey Milk; exorcised Jerry Falwell While dragqueensemphasize the city bycanonizingthelateHar- protested thePope’svisitto ra a 09 SUNYGeneseo GreatDay2009 go throughthe same ters,” playingoffthe Proceedings ofGREATDay,Vol.2009[2010],Art.13 claim tobeableinterpret asociety’s then, canasocial anth Turner positsthissame question:“How, paradox thatexistsinth ining ritualstudies,ha ous anthropologists,particularlythoseexam- Numer-thropologist’s ortheperformer’s? Whose interpretation,th any lesscompelling”(DragQueens intentional, solidarit ances ofprotestanyle tity,’ butthat doesnotmake their perform- sexual meanings’ oreven‘collectiveiden- toires’ or‘counter-h seen, are unlikelytotalk ‘cultural reper- drag queensandtheiraudiences,aswehave the academy. RuppandTayloragree: “the which isoftenrelegatedtotheivorytowerof within the framewor pect them tounderstandtheirperformances der andqueertheory.Thus,onecannotex- the languageandconceptsexploredingen- demic community,areoftenunexposedto individuals oftenlivi one must acknowledgethatdragqueens,as politics, judicialsystem its most formal sense(inreferencetoparty “political” itself, andit ances politicalorno mining whetherqueensviewtheirperform- ily political.Partof cal jokes,herperformances arenotnecessar- pagne assertedthatasidefrom afewpoliti- formances asinherentlypolitical.Cham- through theirperformances onthestage. emphasize the humanity ofallpeoples lor havealsonotedhowdragqueenstryto of dragqueensinKeyWest,RuppandTay- amongst everyoneinthebar.Intheirstudy Not alldrag queensseetheirper- y-building, orindeed, egemonic genderand t istheveryterm k ofgendertheory, the difficulty indeter- ng outsideoftheaca- ropologist justifyhis ve notedtheetic/emic ss confrontational, is oftenonlyreadin s, etc).Additionally, e discipline.Victor en winsout,thean- , 22). 188 18 Published byKnightScholar, 2010

erties ofthatfield”(ForestSymbols setting anddescribeth can placethisritual inits significant field they…you aresupposed to representyour we canandcannotmarry…who the fuckare tell uswhowecanandcannotloveand chimed inwith:“it’slikeyou’retrying to of GeorgeBush’spresidency,Champagne feisty personalities.When discussinglegacy Americans withtheirsassy,dynamic, and dress the discrimination facedbyqueer Overall, drag queensarenotafraidtoad- performance” may bevastlydifferent. gist andtheperformer definea“political zens. However,thewaythatanthropolo- treated andrepresented made political inasociety wherethey are inherently political; theirveryexistence is course, thelivesofLGBTIQindividualsare ance betweenthesetwoperspectives.Of the end,Ithinkitisim the meaning behinddragperformance. In tion makes me well-suitedforinterpreting self-identified gayman, given ritual”(ForestofSymbols society, andalsointherolestructureof sitions, both inthepersisting structure of his or evenasetofsituationallyconflictingpo- is circumscribed byhisparticularposition, means thattheanthropologist’s“ownvision his own“structuralpersp the anthropologistisembedded withinher/ 27). Atthesame time,heacknowledgesthat assumes that allanthropologists aremale]

meaning ofaperformance: “he[Turner

can andshould interpret thesymbolic Turner thinksthattheanthropologist themselves?” (Forest ofSymbols comprehensively thanthe actors ritual symbols more deeplyand ra a 09 SUNYGeneseo GreatDay2009 e structuresandprop- portant tofindabal- as second-classciti- I thinkthatmyposi- I ective.” Bythishe , 27).Asa Palmer: FrontandCenter , 26- , 26). (hooks, 214). petuating misogynistic, racistthemes been criticalofdragperformances for per- is Burning this issueisamongst gendertheorists(Paris Paris isBurning rounding JennieLivingston’sdocumentary One needonlylookatthecritiquessur- ies ofdragproblematic forscholars: central theoretical issuethathasmade stud- tions thattheysupport. United States istheof studying dragqueenperformances inthe cal hurdlesthatone breasts. Perhapsoneofthegreatesttheoreti- tractive, highly sexualized, withlarge often representedaswhite,blonde,veryat- type ofwomanonthestage.This is -femininity, dragqueensrepresentacertain ist blackfaceperformances. With theirhyper pare theperformances of dragqueenstorac- ages ofAmerican women; infactsome com- queens areseen aspe Misogyny in Drag Problematic Performances: Racismand entire country.” 583). ultimately resolvedblurring (582- opposition throughaninstructive but buttressing andreconfirming binary those that seethem asanelement the dominant sex/gendersystem and dered performances assubversiveof that treat transvestite and transgen- this topicisdividedbetweenworks structural models.Theliteratureon its exemplary instances, andits has turnedtodragforitsmetaphors, Indeed, thetheoryofperformativity Within somefeminist circles, drag ). bellhooksinparticular has tounderstandhowdivisive must confrontwhen rpetuating negativeim- ten sexistrepresenta- Morrisdescribesthe 189 19 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

painfully that performances intheUnitedStates,notes anthropologist tohavestudieddragqueen phobia. McNeal,perhapstheonlygaymale tity, identity politics, as anti-feminist isrooted inissues of iden- The debatecenteringondragperformances participating inthe experience:

forming indragpreventedlesbiansfrom the realm oftheunconscious”(584). nipulation canneverfullyenterinto because thesubjectofconsciousma- vides anexemplaryresolutionbut nant ideology–notbecauseitpro- of gender,dragcanreinscribedomi- consciously addressedtothematter indicate that, evenwhenself- what soberingly,accountslikethese masquerade inthefeminine. Some- and gaymen rejectedtheirrightto bians attempted toenteradragshow Cherry Grove,NewYork,whenles- description ofaconf “Newton hasdonejustthatwithher

final interpretationofdrag because lysts wedonotforeclose uponany it isimportant thatasobservingana- subversive andparodicby turns.But mative aspectsofgender,anditis others…Drag highlightstheperfor- they attempt toreclaim andrectify oppressions atthesame time that acerbate and evenintensifycertain how individualsandgroupsmay ex- We shouldremain evercognizantof raphy ofFireIslandinwhichmen per- Esther Newtondescribesinherethnog- Morris recountsanincidentthat of misogyny indragperformances. Other criticshavenotedincidents ra a 09 SUNYGeneseo GreatDay2009 and internalized homo- lict thatarose in Proceedings ofGREATDay,Vol.2009[2010],Art.13 came outonstageandproceeded topunch Lake, whowasstilldressed asRhianna, simulate anabortion.Then,MissDarienne (handed toherfrom backstage)onstage to show, thedragqueenusedacoathanger den undertheclothes.Atendof stomach (afakepregnantstomach washid- polka dotpatternfabriconthebreastsand of blackfabric,andhadablack-and-white M.I.A. woreattheGrammys–itwasmade queen woreanoutfit similar tothe one nant SriLankanfemale rapper.Thedrag Aggy DuneperformedM.I.A.,thepreg- as stage byanotherperformer.Later,Miss and waspunched,kickedscratchedon body (withaparticularlydarkblackeye), stage wearingmake-up tosimulate abruised abuse. MissDarienneLake came outon news forhavingsufferedfrom domestic cal artistwhohadjust formed asRihanna,apopularfemale musi- the performance, MissDarienneLakeper- ter, NYthatwaspartic tic. Iobservedoneperformance inRoches- performances thatcanbereadasmisogynis- have seenseveralexamples ofdragqueen stigmatization andsexism(360). play ofdragthatresortstore- transcendence throughthemarginal assertiveness, empowerment, and disheartening toobserveattempts at and sexuality…Itissobering dominant culturalmodels ofgender as eithersubversiveorreaffirming of simplistic toposedragperformance much asitsubvertsit.Itis too and buttressesthestatusquoas hegemonic system ofbinarygender in many ways it re-instantiates the From myfieldworkexperiences,I recently been inthe ularly troubling.In 190 20 Published byKnightScholar, 2010

McNeal (who self-identifies asagay male) spective ofpsychologi ances canbeverylimiting. Usingthe per- feminist critiquesofdrag queenperform- ist andmisogynistic lens.Shenoteshow drag performances throughbothaheterosex- tive, Newtonisabletolookatmale-bodied ter radical feminist position)(BodiesThatMat- matrix, paradoxically,attheheartof tivity (andthustorein into the centerof male/male homosexual ac- womenway forfeminist tomake themselves analysis isinfactacolonization inreverse,a might arguethatatitsextreme, thiskindof male homosexuality aboutwomen andone “The feministanalysis[of drag]thusmakes from bothsidesofthedebate,assertsthat: women. Butler,whofi however, “play”with formances. Suchrepresentationsofwomen, dic, ifnotthemost comedic ofalltheper- found bothperformances extremely come- the performer ranoffstage.Theaudience exclaimed: “codeorange,codeorange!”and from newspaper.Theemcee, PandoraBox, and revealedashort the “recession gown”(cheapattire)category former came outinthesame blackburqain the floortoimitate alawn. Thesame per- flowers andaflamingo whirligigandlayon a blackburqa, andcarriedonstageplastic lawn ornamenttheme. Oneperformer wore attire, meaning thattheyhadtodressina

, 127).Coming from alesbianperspec- amateurs. Oneofthecategorieswaslawn

special dragcontestwasbeingheldfor tic. Duringanother ance canbereadasbeingmisogynis- stomach. Certainlysuchaperform- Miss AggyDunerepeatedlyinher ra a 09 SUNYGeneseo GreatDay2009 skirt underneathmade theoppressionof scribe theheterosexual cal anthropology, nds awaytomediate fieldwork visit,a Palmer: FrontandCenter sexist: drag queens’performances areinherently women. Boxxdoesnotbelievethat Pandora sees dragperformance as“anhomage” to their performances. Indeed,Champagne are celebrating,notdemeaningwomenin ported bydragqueenswhoassertthatthey ing matters ofdesire”(347).Thisissup- cultural position inre similar, thoughnotequivalent,psycho- fun atthemselves andwomen whooccupya poking funattheworld,butalsoby have respondedtothissituationnotonlyby these performances. upon them bymainstream societythrough priate thefemininity thathasbeenplaced men areabletocontrol,andindeed,reappro- puted controloverthe fication oftheirownstigma takesundis- present whoenjoyandlaughasthepersoni- show providescatharsisforthosegaymen tance: “thesymbolic performing asdragqueensisanactofresis- through representingwomen onthestage, hegemonic straightworld”(346-347).Thus, control andassertive, retaliating against a men isnotstigmatized andashamed, butin moments, the ‘femininity’ attributed togay forming aswomen because“Forthesefew formances. Inpart,gay men embraceper- tions ofwomen indragqueenper- emerge tries tounderstandhowsexistrepresenta- stage andcelebratethe image ofa they wouldnotbeableto goouton hated women oranythinglike that negative light.Ifdragqueens truly so amazingly ifyouviewitina lous. Youcan’tportraysomething comes from butIthinkit’sridicu- I certainly understand where that inversion ofthedrag Therefore, “Gaymen lation tomen concern- court” (348).Gay 191 21 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

many misogynistic themes. performances arelikelytocontinue tohave own internalizedhomophobia, dragqueen Thus, untilgay men areabletofight their phobia andculturallylearnedshame” (348). deeply tiedtogaymen’s internalizedhomo- representations isthatsuch“misogyny…is ever, onewaytomake senseofthesesexist spite anypsychologicalexplanation.How- queen performances areindeedsexist,de- nally, McNealacknowledgesthatmany drag touch withtheirspirituality” (Silvers). Fi- are more emotionallystrong,they’remorein since they’vebeenoppressedsolong…they stronger thanmen generallyanywaybecause The otheragreed, stating; “Women arealot I’m payinghomage tostrongblackwomen.” “I thinkofmyselfasabutchdragqueen– their opinions ontheissue. Oneargued that: African-American dragqueensdiscussed 144). Inthedocumentary Wigstock they areallthatth and lookinguptowomen andthinkingthat we spendallofourtime beingeffeminate here ifitwasn’tforthem…Andthat’swhy men, women arepower.Youwouldn’tbe West exclaimed: “Yes,ladiesandgentle-

It’s allaboutlove. our ownmothers, loveof femininity. love ofthepowerfulwoman, loveof love. Loveoftheimage ofawoman, like awoman comes fromaplaceof because Ihatewomen. Dressingup who says,Idressuplikeawoman

if youwouldeverfindadragqueen look likeandbelik we havedeemed women should Similarly, Milla,adragqueeninKey pokes funattheimage ofwhat woman. drag If anything ra a 09 SUNYGeneseo GreatDay2009 ey are”(DragQueens

e. Idon’tknow Proceedings ofGREATDay,Vol.2009[2010],Art.13 , two , stereotypes of black femininity inAmericanstereotypes ofblackfemininity acter, which clearlyplayed offpainful lac.” Thestudentwastroubled bythischar- who hasnineteenkidsand drivesaCadil- ter isathreehundred about: “ablackfacedragqueen…thecharac- York atGeneseonotedhowshehadheard focus groupattheState UniversityofNew blackface. OnestudentinaPRIDEmeeting drag queenperformers actuallydodon have been“gendered.”Some contemporary also alwaysbeen“raced” asmuch asthey must performasdragqueens. order toperform venues,they inprofessional not besaidtoperform women; as instead,in both” (27).Inotherwords,dragqueenscan- front, theactor willfind thathemust do or byadesiretomaintain thecorresponding vated byadesiretoperform thegiventask acquisition of therolewas primarily moti- ready beenestablishedforit.Whether his ally hefindsthataparticularfronthasal- actor takesonanestablishedsocialrole,usu- must accept. AsGoffman notes,“Whenan tablished norms andrules,whichamateurs try. Suchperformances havetheirownes- similarities indiffere drag performances tendtohaveparticular unique subculturewithintheUnitedStates, cause dragqueenshaveformed theirown tend torepresentanextreme femininity.Be- stead, theyperform asdragqueens,which really notaboutportrayingawoman.” In- notes,“it’s als untoitself.AsChampagne drag queens,auniquecategoryofindividu- ing women; insteadtheyareperforming as temporary drag queensarenotimpersonat- made within thequeercommunity thatcon- Performances ofdragqueenshave Additionally, theargument hasbeen nt regionsofthecoun- poundwelfarequeen 192 22 Published byKnightScholar, 2010

is rationalfordragque of course,ametaphor forpower,and thusit of American culture. Sexuality isinitself, be readasacritiqueof Americans; indeed,dragperformances can highlight thesexualizedexperiencesof Sexualizing DragPerformance nic identity. “play” withtheconcept ofracialand/or eth- an appropriateculturalspace foractorsto role reversalindragperformances makesit periment withnewidentities.Theritualistic ica havealways requiredperformers toex- of blackfaceis,dragperformances inAmer- realistic looking.Astr face andsaidthatsometimes itcanbe very that shehasseensome performers inblack- (“Queens ofAllMedia”).Champagne noted to darkenhiscomplexion fortherole Jade, tookthisinstruc Winfrey. Atleastoneofthecontestants, to make adragpersonainspiredbyOprah an episodeinwhichcontestantswereasked queens thatairedinthespringof2009,had Race you lookfabulousasablackwoman!” him untilhewalked uptome –Iwaslike and asserted that“Ididn’t evenrecognize has seendragqueensperform inblackface, (McCullom, 1). Champagne statedthatshe has videosfeatured onYouTube well-known withindrag

welfare whohasnineteenchildren.Heis

obese African-American woman on under thepersonaShirleyQ.Liquor,an , arealityshowcompetitionfordrag white gaymale,performsinblackface An important functionofdragisto On anepisode ofRuPaul’sDrag myth, however.ChuckKnipp,a culture. Thischaracterwasnota ra a 09 SUNYGeneseo GreatDay2009 tion literally,andtried thepuritanicalnature ens tousesexualper- oubling asthehistory queen circles,and Palmer: FrontandCenter forefront ofdragqueenperformances: plain thepowerofbr sive powerstructure.RuppandTaylorex- endos intheirshowstocombat anoppres- formances, jokes,metaphors, acts,andinnu- field Ialsonoticedmany different balls!” (“ChickswithDicks”, 114).Inthe are dragqueens!We dohavedicksand two a dragqueen, remind theaudiencethat:“we fieldwork, TaylorandRupp observedSushi, shocking” (DragQueens in whichanythinggoesandnothingis about sexactscontribu queens useaboutsexandtheirconstanttalk a verypublicaffair…Thelanguagethedrag make sex,whichisusuallyfarmore private, top ofallthisisthefactthatdragqueens performance isits“shoc ferent sense”(DragQueens sexuality thatareshockinginadif- troduction ofideasaboutgenderand ence, creatinganopeningforthein- talk aboutsexactsshockstheaudi- able andthevulgar.Theirbawdy cross the line betweenthe respect- between publicandprivate,they and violatetraditionaldistinctions ries ofgenderandsexualcategories same waythattheyblurthebounda- called apoliticsofvulgarity…Inthe drag queenspracticewhatmight be that theybringintoregularuse,the words forbodypartsandsexacts public talkaboutsexandtheslang female, straightandgay.Intheir ventional understand of thewaygirlschallengecon- and thegropingserveasanextension “the sextalkandthepublicnudity Indeed, animportantpartofthedrag inging sexualitytothe te toanenvironment k factor.”In“On ings ofmale and , 138).Duringtheir , 140). 193 23 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

ways comfortablewiththe highlysexualized when therealSaladBar Review starts.” closes downwelockthe doorandthat’s that’s theafterhoursshow–oncebar no that’sallextraladiesandgentlemen, “we’ll doalittledem show, calledtheSaladBar Review,stated: date oftheshow. Theemcee ofthedrag ized; thiswas especiallyfitting given the ance inRochester,NYwashighlysexual- eve beforeValentine’sDay,adragperform- of sexualitytomy movesonstage.”Onthe make them myown.Thereisusuallyalot try andtakelittlemoves hereandthere Madonna, BritneySpears,Pinkandsuchto means. otherentertainerslike Iwatch dance. I’m noprofessi forms, PandoraBoxxstated:“Well, Itryto When askedhowshemoves whensheper- move theirbodiesinasexualmanner. gender performance bylearninghow to in somany ways.”Dragqueensperfecttheir student notedhow“drag is verysexualized tance ofsexualityindragperformances; one New YorkatGeneseorecognizedtheimpor- the Pride AllianceattheStateUniversityof sexual discourse.Evenstudentmembers of ances; itcombines comedywithanopenly pagne’s statement dragperform- exemplifies aroused…meet me aftertheshow.”Cham- the audience,however,“ifyoudoget point oftheshowisnottosexuallyarouse view withChampagne notedthatthe she

members ontheirgenitalia.Inaninter-

voice, toplacingthehandsofaudience denly speakinginaverylow,masculine would rangefrom dragqueenssud- Some audiencemembers arenotal- to shockthe audience.Such acts performative acts thatwere meant ra a 09 SUNYGeneseo GreatDay2009 onstration righthere, onal dancerbyany Proceedings ofGREATDay,Vol.2009[2010],Art.13 teracted withdragqueens: ent waysthatgayandstraightaudiencesin- research, EstherNewtonobservedthediffer- higher levelsofanxiety.Inherethnographic less comfortable withdragqueens,show seem thatstraightaudiences,whomay be one “category”ofpeople.However,itdoes formances canelicitisnot restricted toany men dothat.” Theanxietythatdragper- “I’ve hadlesbiansdothat,I’vestraight asked aboutwhopushedheraway,shesaid: audience members during theshow;when even pushedherawaywhensheapproached fund yourticketmoney.” Some peoplehave dle thatthenhereisthedoorandIcanre- are heretoentertainyou…ifyoucan’than- you andsitsonyourlap…itsallinfun…we at adragshowifsomeone comes overto pagne “incaseyouhaven’tguessed,are nature ofdragqueenperformances. Cham- than thefirst,‘It’sitsown hair!’and ond woman thenscreamedlouder firmly, itdidnotcome off.Thesec- wigs areusuallygluedon fairly it,’ andpulledhiswig.Sincethe woman jumpedupyelling,‘I’lltouch from me.’ Atthispointanother she actually screamed ‘Getitaway accidentally touchedawoman, and visibly shrankback.Atonepointhe the tablesashewalkedamongthem straight audience,andthepeopleat same performer come downintothe touch him. InKansasCity,Isawthe ally climbed allovereachotherto bar. Thepeopleintheaudiencevirtu- to thegayaudiencesittingalong part ofhisactandheldouthands former came downoffthestageas In Chicago,oneverypopularper- 194 24 Published byKnightScholar, 2010

bachelor partybysaying: “Ibetyou’re young heterosexualman celebrating a Rochester, Samantha harassed a Vegas the restofday.”During ashowin couldn’t sayanything…Iblewhim kisses cock…his mouth wasgapedopenandhe ing pantsandI’llshowyouhowtosucka ing youtherightway? You’regirlfriendain’tblow- what’s wrong? and startedsayingshittome…and Isaid school: “thekidcame outinthehallway tive culture whenbe time whensheresistedmale heteronorma- of thisincident,Champagne alsonoteda Although notperforming indragatthetime [heterosexual men] getkindaembarrassed.” laughing…it’s funbecause they hard…the girlfriendwa he wasturninghishead…hestartedtoget my mouth andgotrightupinhiscrotch on my handsandknees…putthezipperin at therequestofhisgirlfriend:“Igotdown able tosexuallyarouseaheterosexualman vided aspecificexample ofwhenshewas men intheirperformances. Champagne pro- achieving thesexualarousalofheterosexual ditional definitions of sexual identity by sexuality. lenging traditionalno members whomay notbecomfortablechal- and asserttheir dominance overaudience drag queensclaim theirspace onthestage, Queens

I’ll helpyoudown

there. Ifit’snotturnedon,justtellme, the show,there’s anescalator right similarly asserted:“Ifyoudon’tlike In addition,dragqueenssubverttra- , 113).Bymaking suchstatements, Milla, adragperformer inKeyWest jumped back(66). ra a 09 SUNYGeneseo GreatDay2009 ing bulliedinhigh tions ofgenderand the stairs”(Drag Youdropyourfuck- s takingpicturesand Palmer: FrontandCenter that. Especiallybecause they alwaysget trying totakehisshortsoff andthingslike said thedragqueens‘get some guy upthere The gaymen intheaudience enjoy,asone gay peoplelovetoseeusmake funofthem.’ says, ‘straightpeopledon’tknowhowmuch ciate theirstraight audiences,Kyliealso members: “Althoughthedragqueensappre- Key West badgerstraightmale audience and Tayloralsoobservedthatdragqueensin his boxers,andevenreceivedtips.Rupp proceeded totakeoffhispantsandlowered shirt, danced,andthrust prisingly, whenonstagehetookoffhis come andstagedance tothe music. Sur- was hidinginacornerandaskedhimto picked outoneofthepartymembers who you can’tevenfindthedoor.”Shethen him? Ibetyou’resofarintheclosetthat to getmarried: “Doyouhaveacrushon questioned whyhisfriendsdidn’twant him to “justbackdown.”Samantha Vegasthen performance, thebachel scream likeawoman.” Atonepointinthe cried out:“Ibetyoutakeitlikeaman but when calledupon.Samantha Vegasthen the partywasreluctant toapproachthestage Joe, anotherheterosexualmale member of the male, heterosexual audiencemember. doing so,sheconfusedth fake breastsandputit She thenprecededtohandhim oneofher his shirtshewouldshowhim herbreasts. Samantha VegastoldBenthatifhetookoff to approachthedragqueen.However, men inthe bachelor partywereverynervous and askedhimto“Ben-Dover.”Theother tha thenproceeded tocallhim “Ben-Gay” tom [inreferencetohisredhair]?” Saman- Irish…Oh, welldoesthetopmatch thebot- under hisshirt.In hisbehindatJoe;he or’s friends told him e genderidentityof 195 25 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

Newton observedthisfirst-hand: heterosexual systems. Inherfieldwork, skills ascomediennes toopposedominant something positive, notnegative: which something thatis“sogay”becomes invert thetraditional social structure in celebrating their“gayness,” dragqueenscan Queens show directedatstraightmen” (Drag women. There’salot of hostilityinthe ments andcritique male domination of In thisway,theyexpress anti-male senti- derstand whyshedoesn’twanttoswallow.’ suck ituntilyoucome. Maybenowyouun- him grief:‘God.AndIbetyoubegherto When thestraightman gags,Kyliegives mouths, making comparisons tofellatio. pours right from thebottle into volunteers’ structures in theirperformances: “Kylie trality of fighting male heteronormative

highlighted forRuppandTaylorthecen- (Mother Cam satisfaction ofthegayaudience sexuals whohappenedin,tothegreat bly ‘putdown’ anyobvioushetero- working ingaybarsalmost invaria- ‘Live’ impersonators whom Isaw it; thestraight worldbedamned.’ it, ‘I’m gay,Idon’t’carewhoknows for hisgayaudience,whocannotsay mosexuality. Thedragqueen says declaration, evencelebration,ofho- The dragqueensymbolizes anopen

The performer wasattempting to talk 191). Aspecificethnographicevent hassle straightmen” (DragQueens mented, ‘Imean, Iloveitwhenthey In fact,dragqueenscanusetheir , 134).EstherNewtonarguesthatby that.’ Anothergayman com- thestraightboysuptheretodo ra a 09 SUNYGeneseo GreatDay2009 p, 64). Proceedings ofGREATDay,Vol.2009[2010],Art.13 , man inthebathroom. Shewasfollowed drag queento“de-boxer” a“straight”young night. Oneofthewomen was askedbya both turningfiftyyearsold onthesame nessed twoseparateheterosexualwomen one dragperformance inRochester,Iwit- members intotheirperformances. During would bringheterosexualfemale audience there wereseveraltimes whendragqueens heterosexuality” (359) aspect oftheculturalmodel ofcompulsory he hasatleastmomentarily outwittedone to beatwomenattheglamourgame, thens/ drag queen–ormale homosexual–manages sexual women.Healsoassertsthat:“Ifthe attention of masculin are oftenperceivedasvyingforthesexual drag queens,whoaremost oftengaymen, McNeal notesthatonereasonforthisis women inmanyoftheirperformances. 66). and silencedtheman (MotherCamp This drewalaughfrom audience the twice thebroadyou’lleverpickup.’ I’m more sirthanyou’lleverbe,and rate sarcasminhisvoice,‘Sir…?’ where uponTrisrepliedwithelabo- give up,butrepeatedhisdemand, roast inhell.’Theman wouldn’t wouldn’t payadime towatchyou watch me; you’d betterbelieveI paid adollartocome inhereand [drag queen],whoretorted,‘You sir.’ ThisobviouslyangeredTris a lotbetterifyou’daddressme as The man shot back, ‘We’d get along date as‘thatfatman with.’ you’re could notsee,andreferredtoher to aladyintheaudiencewhom I Drag queensalsoharassheterosexual e men,asarehetero- . Duringfieldwork, , 196 26 Published byKnightScholar, 2010

space ofthebaranddance floor.McNeal transform intoqueensand the“profane” the “sacred”spaceinwhich theperformers about tobegin.Curtains anddoorsblockoff are usedtocuetheaudience thatashow is perience, specificlightingandmusical signs perform From onstage. myfieldworkex- and rulesthatdetermine whenandwhocan indeed, ittooisboundedbyspecificnorms shows begsforananthropologicalanalysis; Theatricality ofDrag drag” (DragQueens to those…who lookmost likewomen in lesbian, tended totalk about their attraction it isnoticeable thatwomen,bothstraightand ple havedifferentresponsestothegirls,but drag queensintheirstudy:“obviously,peo- ual women weresexuallyattractedtothe Taylor’s study,bothlesbiansandheterosex- Queens gory ofgenderandsexual preference” (Drag combine “sexactsthatareoutside theircate- members themselves becausethey often fuse thesexualized identities ofaudience bring them coatcheck. to they weretoo afraid[ofaqueerspace] to holding ontotheirjacketsandpurses,if drag queenaskedthewoman whytheywere drag performance. Uponconfirmation, the asked if thiswastheirfirst time attending a were harassed bythedragqueenemceewho heterosexual female audiencemembers

with thedragqueen.Onanotherdatetwo

stage whereshedancedprovocatively highly intoxicated,wasbroughton off hispants.Theotherwoman, The performativeaspectofdrag , 136).Forexample,inRuppand In general,dragperformances con- man, where sheproceededtotake into thebathroom withthisyoung ra a 09 SUNYGeneseo GreatDay2009 , 193). Palmer: FrontandCenter or professional, asatheatricalstructure character; alldrag,whether formal, informal, guishing characteristic Esther Newtonnotesthat eclipse ofthesunor bisexuality, tothewilderness,andan in thewomb, toinvisibility,darkness, nality isfrequently lik social andculturaltransitions.Thus,limi- symbols inthemany societiesthat ritualize tributes areexpressedbyarichvarietyof such, theirambiguousandindeterminate at- custom, convention,andceremonial. As the positionsassignedandarrangedbylaw, here northere;they Turner argues: “liminal entitiesareneither of VictorTurner,“betwixtandbetween.” in theirperformances; theyare,inthewords ply limited toplace,but time aswell. tion ofasacredorprofanespaceisnot sim- or occasionally, stripping. Thustheconcep- can beusedasaspaceforresting,dancing, between orbeforeandafteractsthestage is onlysacredduringth forum” (366). Onemust notethatthestage conflicts andambivalences expressedinthat cally defensivereasons–unawareofthe gay men, even thoughtheyare–fordynami- leged windowintothepsychicrealitiesof “circumscribed arenathatprovidesaprivi- describes the sacredspaceasa this spacethattheychallengethestatusquo. ful placeand adangerous place.Itiswithin fines oftheirgender.Thisisbothapower- allowed toexplore,andchallengethecon- they inhabit aspaceinwhichindividuals are “male,” norarethey “female.” Similarly, 95). Dragqueensar Drag queens inhabitaliminal space In herethnographyMotherCamp are betwixt andbetween e not necessarily moon” (RitualProcess ened todeath,being of drag…isitsgroup e dragperformances; : “Infact the distin- , , 197 27 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

following section.Taylor andRuppfound sona, atopic thatwillbeexamined inthe drag queenstogetintoand developaper- to.” Experience withinthetheater allows was Champagne Icouldsayanythingwant Rob wasalwaystheshypersonwhereifI school andIlookedat stated that“Iwasinvolvedindrama inhigh ing theirmannerisms.” Champagne also to doclassesinwatchingpeopleandstudy- acting inhighschool fortable performing onst theater inhighschoolmadehim morecom- made itclearthathisexperience withthe Champagne inSchenectady,NewYork),he my interviewwithRob(whoperforms as forming.” (“ChickswithDicks”,123).In ter sinceshewasten,andshe,too,lovesper- theater asaboy…Ingaha R.V. hadbeeninprofessionalsummerstock ence members havefeltintheirownlives… evoke thepainandangerlovethataudi- she lovesisbeingabletouseherfeelings, in theatergroupsfrom ayoungage.What also identifiesasaperformer. She,too,was being adragqueenismore profound,she and alwayslovedit…AlthoughforMilla involved intheatersinceelementary school background intheater.Scabola hasbeen theatrical identity, a “Being adragqueenalso means embracing a many drag queens havetothetheater: cle, RuppandTaylornotetheaffinitythat by extension,oftheaudi

have asolidcommandofthestage,and

drag performances requirequeensto ity)” (37).Asanartisticendeavor, no dragwithoutdrama (ortheatrical- actor andhis audience,andthereis style. Thereisnodragwithoutan ra a 09 SUNYGeneseo GreatDay2009 nd many of themhave and everythingwehad it asanactingrole… Proceedings ofGREATDay,Vol.2009[2010],Art.13 age indrag:“with s beeninthethea- ence. Intheirarti- queens andmainstream gaymen, muchof the most interactionsbetweenthedrag it wasatthisamateur barthatwewitnessed discrimination bytheirgaypeers. Although and aretheonessubjecttomost overt “amateur dragqueenshave limited status their lip-synching.Be and willoccasionally forget toor mess-up self-confident enoughtoactasprofessionals, sional dragqueens.Oftenamateurs arenot the artistic and performa ances inRochester,Ilearnedtoappreciate she treateddrag “likeacareer.” of my ownperformances” andstatedthat and I’llwatchtheshow videotape andcome backhome thatnight Champagne notedthat:“I’lllikehavea and betterperformances mean bettertips. them performing isaneconomic activity, critical oftheirwork.After all,formostof sisterhood.” Dragqueen seeing everydayyou’regoingtohavethat “any performance, anygroupthatyou’re apartoftheatricalcast: many whoare be expected,asitmirrors theexperienceof ity foundamongagroupofdragqueensisto PRIDE focusgroupnotedthatthecollectiv- (Drag Queens ing makeup throughtheir many dragqueens became familiar withus- ethnography, TaylorandRuppalsonotethat tics” (“ChickswithDicks”,125).Intheir into alignment withtheir identitypoli- the streets -inawayth theater –bothintheca perience, thedragqueensengageinstreet with thetheater: “With theirtheatrical ex- studied inKeyWest also hadfamiliarity that themajority of the dragqueensthatthey By attendingamateur dragperform- , 13).Onestudentinthe rkowitz notesthat baret and literally on at bringstheirwork …I’ve very critical tive talentofprofes- s tendtobevery theater experience 198 28 Published byKnightScholar, 2010

as intraditionaltheater, taking onanewper- West: “Thistheatricalid Rupp recordedsimilar experiencesin Key or learnedfrom oneanother.”Taylor and “Rob andChampagne haveslowlymorphed have inmany waysmerged intoonebeing: pagne) havelearnedfromoneanother,and both sidesof hislife(RogerandCham- calm. However,withtime hehasfoundthat shy; Champagne wasbold,whereashe Champagne wasconfident,whereashe Champagne, wasverydifferentfrom him. blurred. Rogerclaims thathispersona, their dragpersona,however,oftenbecomes between thedragqueen’severydayselfand then youarenotanentertainer.”Theline “If youdon’thavesome sortofpersonae, members. Indeed,PandoraBoxxarguesthat selves identifiabletoreturning audience specific persona asa bodied. Professionalperformers clingtoa which toexpress themselves asfemale- Forging ANewPersona ryone isrunninguptothatbar.” drink theprettierwel made theannouncement: ‘themore you pagne saidthatsheusedthesame saying:“I called thisthe“rulenumberone.”Cham- emcee dragqueen atagay barinRochester the prettierwelook.” to usestartashowis“themore youdrink noticed thatacommonlinefordragqueens United States.From myfieldwork,I have

ferent dragqueenperformances inthe

ances thatarecommonthroughoutdif- appreciation” (29). Drag queens createpersona(s) from There arespecific theatrical perform- disrespect andvulgarity,ratherthan this contact wascharacterizedby ra a 09 SUNYGeneseo GreatDay2009 way ofmaking them- ook’ soofcourseeve- AmbrosiaSalad,an entity involves,just Palmer: FrontandCenter ment onstageandtoseethatyou’ve ment. Alleyesareonyouforthebrief mo- “Drag cangiveyouasense ofempower- performance tobea positive experience: dom.” PandoraBoxxhasalsofounddrag same personbutyouhaveasenseoffree- there’s asenseoffreedom…you’restillthe Champagne’s words:“kindofliberating… note howtheirperfor that costume.” Indeed,many dragqueens you wouldneverknowthatitwashiminside on…he waslikeatotallydifferentperson… nas), and“assoonashehadthebodysuit Americans playwithnewrolesandperso- is, ofcourse,aholidayduringwhichall who wentoutindragonHalloween(which former. Champagnenotedashymale friend very realpsychologicaleffectuponaper- prostitutes” (“ChickswithDicks”,124). kind ofsexualaggressivenessfemale more as‘actinglikehookers,’deployingthe behavior soundsmasculine, theyviewit “hassle thestraightmen.” “Ifsome ofthis queens theyobservedinKeyWest liketo larly, TaylorandRuppnotethatthedrag they weresellingthemselves ornot.Simi- move, andgesturelikeprostitutes,whether the self-identified “f turn ofthe20 male culture inNewYorkCityjust after the charged femalebody.Inhisanalysisofgay are representative ofanextremely sexually- Drag personas arehighly dramatized, and and more” (“ChickswithDicks”,124). though ‘nowtheyarecoming togethermore tirely differentperson’from Margo,al- queen late in life, desc Sushi. EvenMargo,whobecame adrag sona. ‘SushiisdifferentthanGary,’says The creationofapersonacanhave th Century,Chaunceynotesthat airies” wouldspeak, mances canbe,in ribes Davidas‘anen- 199 29 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

is notwhatanthropologic world. Analyzingthehuman mind however, able forgaymen livinginahomophobic and self-respect inwaysperhapsunattain- have theability toincrease self-confidence sharing websites suchas and withthegrowingimportance ofvideo- agency. Dragperformers arenodifferent, logical processesto of Westernization, but vidual actorsarenotsimply helplessvictims drawn from globalization the most importantconclusionsthatcanbe science orcommercialized tions media, theinternationalprocessesof ences oftelevisionandothercommunica- cies, tourists,refugees,cyberspace,theinflu- transnational corporations,foreignaidagen- migrations, diasporas,commodity chains, cultures than translocalities, border zones, studies arelesslikely tobecommunitiesor subjects ofanthropol ize ethnographicstudies.Hestates:“The lated toglobalization in importance ofunderstandingprocessesre- rary cultural anthropologists, stresses the Ted Lewellen,among manyothercontempo- Globalizing Identitiesand DragCulture munity inAmerica. problematic relationshipwiththequeercom- tion uptothepsychologists,evengiventheir suited for,andIwould body else?”

yourself, howareyougonnalovesome-

crap form anybody…ifyoucan’tlove sona hastaughther:“nottotakeany Champagne alsoassertedthatherper- Drag queenpersonas,itthenseems, way, canreallybetrulypowerful.” affected people,eveninasmall ra a 09 SUNYGeneseo GreatDay2009 achievepersonal ogical globalization interact withtechno- leave this interpreta- ordertocontextual- Proceedings ofGREATDay,Vol.2009[2010],Art.13 www.youtube.com al analysisisbest- studies isthatindi- art”(57).Oneof

define themselvesasa“college graduate.” and bothAmbrosiaSalad andPandoraBoxx the UniversityofMassachussetts –Boston, ter’s degreeinbiomedic Samantha VegasnotesthatsheholdsaMas- “normal,” educatedAmerican.Forexample, mize thepersonwhoperforms indragasa Myspace pagescanalso dressed asSarahPalin Miss DarienneLakefeaturedherpicture a rainbowwiththewords“Obama Pride.” Obama’s presidential ca drag queenpostinganimage usedinBarack were alsoquite political, withatleast one members andfellowqueens.Theirpages featured images ofthem withaudience some aspects.”Thedrag queensonMyspace pagne assertsthatMyspace is“better in able tofindtheirpagesonFacebook.Cham- had pageson Myspace,althoughIwasun- the dragqueensthatIobservedinRochester performances ofasingleperformer. Mostof between performers orlookingatthevaried go from dragvideotoanother,shifting one related videoslink.Thisallowsviewersto online andthreadedtoone anotheron the cuse orMiss Rochesterarealsoposted from aspecificcontest, such asMiss Syra- linked tooneanother. that holdsvideosofasingleperformer tobe easily donebycreatingausername profile video sharingwebsiteYouTube, thiscanbe personas andexhibittheirwork.Onthe performers usetheinternet toadvertise their ings incyberspace. creating identities thatexist asmutable be- www.myspace.com www.facebook.com and socialnetworkingwebsites suchas As professionaldragqueens,these , itisclear that they are and Dragperformances mpaign thatfeatured al engineeringfrom be usedtolegiti- herprofilepicture. 200 30 Published byKnightScholar, 2010

may notbeabletodefinitively identify the ance restsuponthefact bodied. Infact,thepower oftheperform- individual istrulymale-bodied orfemale- the performer, onecanneverbesureifthe selves; without soliciting information from queens areveryambiguous withinthem- however, thattheperformances ofdrag in American culture.Itisimportant tonote, of critiquing theclearly defined gender roles highly exaggeratedmanner, inpartasaway queens tendtoportrayAmerican women ina Drag queensdojustthat.Inaddition,drag pression thatisfostered quests hisobserverstotakeseriouslytheim- an individualplaysapartheimplicitly re- cally female. AsGoffmanasserts:“When the audiencebelievethattheyarebiologi- Theverynatureofdragperformance male-bodied dragqueensdoattempt tomake is oneofillusion.Indeed,onsome levelall Conclusion space aswell. then without ananalysis scends politicalboundaries,isincomplete queens, oranyotheridentitygroup thattran- Any dynamic,contemporary studyofdrag their personasandshowcasework. probably continuetouse can cultureinparticular, dragqueenswill an increasinglyimportant aspectofAmeri- posted pictures,andsixvideos. discussion topics,145wallposts,497

2009 has953members, with12different

Champagne. Thegroup,asofMay12, through whichImet my informant, “Drag QueensRockMySocksOff,” As cyberspacecontinuestobecome voted todragqueens,including Facebook hasseveralgroupsde-

ra a 09 SUNYGeneseo GreatDay2009 thattheaudience beforethem”(28). ofthisperformance the internet tosell Palmer: FrontandCenter evolving intheLGBTIQ communitysuch ety” (DragQueens twenty-first century changes invalues,ideas, andidentitiesin ing that“dragcanserve asacatalyst for share anoptimistic be partofoursociety.”RuppandTaylor I don’tknowyetbutthinkthatit’sgoingto an important partinthefuture –whatfuture? quite yetdone becausetheirstill gonna play that dragqueens’orkings’historyare prompt, stated:“Idon’tthink Champagne queens inAmerican Without culture? ances. boundaries ontheirownmembers’ perform- own socialnorms, andthereforeimpose community, ofindividualswhocreatetheir are themselves, aparticular category,and not acknowledgethefactthatdragqueens the genderdichotomy. Sucharguments do on stage,dragqueensreinforce,notsubvert, argue thatbyshowinganextreme femininity can societyhasformed. Gluckman would typical performances ofwomen thatAmeri- in thattheyoftenreproducethesamestereo- the same time,however,aparadoxremains ting forthanewkindof norms asagents andact ture. Yes,dragqueenschallengegender drag queensincontemporary American cul- any concreteconclusi and ambiguity, make itverydifficulttodraw These elements ofillusion, parody,satire what is“female-bodied” inthefirstplace. to definewhatexactlyis“male-bodied” and surgery, isnotunknown,itbecomes difficult modification, includinggenderreassignment in thisnewtechnologicalagewherebody biological factsoftheperformers. Certainly What doesthefutureholdfordrag , 6).With newidentities perspective bysuggest- Americansoci- ons from my of study ofresistancebyput- public transcript ; at 201 31 https://knightscholar.geneseo.edu/proceedings-of-great-day/vol2009/iss1/13

munity, making them unabletoimpartially pologists as“trapped” many within thediscipline seenative anthro- thropology tobeconducted. Unfortunately, if nothingelse,callsoutformore nativean- spectives hasdeepenedthisexperience, and American. Theharmony ofthesetwoper- subjective, emotionalperspectiveofaqueer spective ofananthropologist formances from theobjective,analytical per- have attempted tointe beliefs. ture, andthustheirownnorms, values,and munity, bothofwhichhavetheirowncul- munity andacademic anthropological com- neuvered betweenthequeer,ornativecom- Ellen Lewin andWilliam Leap),Ieasily ma- breaking text Outinthe Field many ofthosedescribedintheground- tures orfocusonnon-queertopics,suchas pologists whostudyin“mainstream” cul- my owncommunity.Unlikequeeranthro- native anthropologistan ture hasgivenme theopportunitytoactasa my studyofdragqueensinAmerican cul- Reflections performing indrag. times andinall spaces. Indeed,weareall putting onagenderedperformance atall heterosexual and“gendernormative,” are Americans, especially drag queensrevealthehiddentruththatall

in American culture. Overall,however,

gender-bending inqueer communities formances highlighttheimportanceof such as“genderfucking,”dragper- From thisuniquevantagepoint,I As aqueerstudentofanthropology, “androgynous,” aswellpractices as “genderqueer” and ra a 09 SUNYGeneseo GreatDay2009 rpret dragqueenper- those whoidentifyas within theirown com- d studythosewithin Proceedings ofGREATDay,Vol.2009[2010],Art.13 (editedby and fromthe cursive Limits of“Sex” cursive Limits ofHomosexuality Spaces.” Journal Menin Public andPrivate Queens andGay “TheInteractionofDrag A. Halberstein. Berkowitz, DanaandLind and uniquespaceinanthropological inquiry. that nativeanthropologis American landscapereveals, ifnothingelse, Mystudyofdragqueensonthe first place? “native” andonean“anthropologist”inthe nature ofidentities,whatmakes onea tive’s? Ormorecritically,giventhefluid authoritative, theanthropologist’sorna- tion iscorrect,orat should speakforwhom? Whose interpreta- Who nity ordescribeagivenculture? the privilege,tospeakforagivencommu- mas ofthediscipline:Whohasright,or call intoquestionmany ofthecentraldilem- within the discipline. the paradoxofemic two positionsandprovidenewinsightsinto anthropologists canmediate betweenthese their own,oftenWestern, worldview,native ply bias-filledoutside ern concernthatall native anthropologist?Giventhepostmod- is bettersuitedtorepresent aculturethan thropological theoryandmethodology, who community and“objective”traininginan- analyze it.Iask,withboth membership ina 1993. Butler, Judith.Bodiesthat Matter: OntheDis- September 21,2008. Lee.“Curriculum Larry Review.” Blackman, 11-32. More broadly,nativeanthropologists

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