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A Case Study Exploring the Agency of Black Lgbtq+ Youth In
A CASE STUDY EXPLORING THE AGENCY OF BLACK LGBTQ+ YOUTH IN NYC’S BALLROOM CULTURE By Shamari K. Reid Dissertation Committee: Professor Michelle Knight-Manuel, Sponsor Professor Yolanda Sealey-Ruiz Approved by the Committee on the Degree of Doctor of Education Date 19 May 2021 . Submitted in partial fulfillment of the requirements for the degree of Doctor of Education in Teachers College, Columbia University 2021 ABSTRACT A CASE STUDY EXPLORING BLACK LGBTQ+ YOUTH IN NYC’s BALLROOM CULTURE Shamari K. Reid Recognizing the importance of context with regard to youth agency, this study explores how 8 Black LGBTQ+ youth understand their practices of agency in ballroom culture, an underground Black LGBTQ+ culture. Ballroom was chosen as the backdrop for this scholarly endeavor because it allowed for the study of the phenomenon — Black LGBTQ+ youth agency — in a space where the youth might feel more able to be themselves, especially given that the 2019 Black LGBTQ+ youth report published by the Human Rights Campaign revealed that only 35% of Black LGBTQ+ youth reported being able to “be themselves at school” (Kahn et al., 2019). Thus, instead of asking what is wrong with schools, this study inverted the question to explore what is “right” about ballroom culture in which Black LGBTQ+ youth might practice different kinds of agency due to their intersectional racial and LGBTQ+ identities being recognized and celebrated. Framed by the youth’s understanding of their own agency across different contexts, my research illuminates the complex interrelationships between youth agency, social identity, and context. Extending the literature on youth agency and Black LGBTQ+ youth, the findings of this study suggest that in many ways these youth are always already practicing agency to work toward different ends, and that these different end goals are greatly mediated by the contexts in which they find themselves. -
Sharing Economies and Affective Labour in Montréal's Kiki Scene
SERVING EACH OTHER: SHARING ECONOMIES AND AFFECTIVE LABOUR IN MONTRÉAL’S KIKI SCENE by Jess D. Lundy A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Women’s and Gender Studies Carleton University Ottawa, Ontario © 2019, Jess D. Lundy Abstract Against a tense socio-political backdrop of white supremacy, intensifying pressures of neoliberal fiscal austerity, and queer necropolitics, this thesis addresses performance-based activist forms of place-making for urban-based queer, trans, and gender nonconforming communities of colour. Using participant observation and qualitative interviews with pioneering members of Montréal’s Kiki scene and Ottawa’s emerging Waacking community and interpreting my findings through the theoretical lens of queer of colour theory, critical whiteness studies, queer Latinx performance studies and Chicana feminism, I argue that Kiki subculture, which is maintained by pedagogical processes of ‘each one, teach one’, is instrumental in facilitating i) life-affirming queer kinship bonds, (ii) alternative ways to simultaneously embody and celebrate non- normative gender expression with Black, Asian, and Latinx identity, iii) non-capitalist economies of sharing, and iv) hopeful strategies of everyday community activism and resilience to appropriative processes during economic insecurity and necropolitical turmoil. ii Acknowledgements First and foremost, I would like to acknowledge the members of Montréal’s Kiki scene and Ottawa’s Waacking founder for their willingness to participate in this study despite the understandable reflex to safe-guard their own. Secondly, I extend my sincerest gratitude to my thesis supervisor Dr. Dan Irving. Apart from disproving that you should never meet your heroes, Dr. -
Dickie Beau, LOST in TRANS, the Theatre Centre, Toronto Fabien Maltais-Bayda
Document généré le 1 oct. 2021 10:58 esse arts + opinions Dickie Beau, LOST in TRANS, The Theatre Centre, Toronto Fabien Maltais-Bayda Esquisse Sketch Numéro 93, printemps 2018 URI : https://id.erudit.org/iderudit/88029ac Aller au sommaire du numéro Éditeur(s) Les éditions esse ISSN 0831-859X (imprimé) 1929-3577 (numérique) Découvrir la revue Citer ce compte rendu Maltais-Bayda, F. (2018). Compte rendu de [Dickie Beau, LOST in TRANS, The Theatre Centre, Toronto]. esse arts + opinions, (93), 116–116. Tous droits réservés © Fabien Maltais-Bayda, 2018 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Esse Dickie Beau LOST in TRANS, 2018. Photos : Joel Fildes (left), courtesy of the artist Dickie Beau LOST in TRANS In a recent episode of the podcast Food 4 Thot, a discussion in LOST in TRANS belong here, too. This notion, however, on queer vocality began with one host revealing, “People’s raises questions around belonging and identity that feel voices are pretty much my favourite thing… their singing tricky when a white artist like Beau takes on the vocality of voices, their speaking voices. -
Title of Dissertation
SETTING UP CAMP: IDENTIFYING CAMP THROUGH THEME AND STRUCTURE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Michael T. Schuyler January, 2011 Examining Committee Members: Cornelius B. Pratt, Advisory Chair, Strategic Communication John A. Lent, Broadcasting, Telecommunications & Mass Media Paul Swann, Film & Media Arts Roberta Sloan, External Member, Theater i © Copyright 2010 by Michael T. Schuyler All Rights Reserved ii ABSTRACT Camp scholarship remains vague. While academics don’t shy away from writing about this form, most exemplify it more than define it. Some even refuse to define it altogether, arguing that any such attempt causes more problems than it solves. So, I ask the question, can we define camp via its structure, theme and character types? After all, we can do so for most other genres, such as the slasher film, the situation comedy or even the country song; therefore, if camp relies upon identifiable character types and proliferates the same theme repeatedly, then, it exists as a narrative system. In exploring this, I find that, as a narrative system, though, camp doesn’t add to the dominant discursive system. Rather, it exists in opposition to it, for camp disseminates the theme that those outside of heteronormativity and acceptability triumph not in spite of but because of what makes them “different,” “othered” or “marginalized.” Camp takes many forms. So, to demonstrate its reliance upon a certain structure, stock character types and a specific theme, I look at the overlaps between seemingly disperate examples of this phenomenon. -
Kiyan Williams Interviewer: Esperanza Santos Date
Queer Newark Oral History Project Interviewee: Kiyan Williams Interviewer: Esperanza Santos Date: October 11, 2019 Location: Via phone call from Rutgers-Newark and Richmond, Virginia Vetted by: Cristell Cedeno Date: November 24, 2019 Interviewer: Today is October 11th, 2019. My name is Esperanza Santos, and I'm interviewing Kiyan Williams at Newark—at Rutgers Newark while they are in Richmond, Virginia, for the Queer Newark Oral History Project. Hi Kiyan. Interviewee: Hello. Interviewer: Hi. Well, thank you so much for taking time out to be with me today. Interviewee: It's really a pleasure. I'm so excited that we found the time to connect. Interviewer: Right. We've been emailing back and forth for a minute, but we made it work. Interviewee: Totally. Interviewer: Tell me, just to start off the conversation, when and where were you born? Interviewee: I was born in Newark, New Jersey. Interviewer: Can you tell me your birthday if that's okay? Interviewee: Yeah, I was born on March 6th, 1991, at UMDNJ. Interviewer: Does that make you an Aquarius or an Aries? Interviewee: It makes me a Pisces. Interviewer: Oh, it makes you a Pisces. Okay. Who raised you when you were growing up? Interviewee: I was raised by—primarily by my mother and also by my grandmother. Interviewer: Okay. When your grandma and your mom were raising you, did you grow up in one place, or did y'all move around a lot? Interviewee: I mostly grew up in East Orange, in North New Jersey. I spent all of my childhood and my teenage years between Newark and East, which are adjacent cities that are right next to each other. -
January 14 - February 9, 2020 | Quadracci Powerhouse
JANUARY 14 - FEBRUARY 9, 2020 | QUADRACCI POWERHOUSE by Matthew Lopez | Directed by Meredith McDonough A CO-PRODUCTION WITH ARIZONA THEATRE COMPANY EXECUTIVE PRODUCERS: ASSOCIATE PRODUCER: Melanie and Steve Booth Robert Burrell JANUARY 14 - FEBRUARY 9, 2020 | QUADRACCI POWERHOUSE by Matthew Lopez | Directed by Meredith McDonough TABLE OF CONTENTS Synopsis /Characters 3 About the Playwright 4 Elvis Impersonators: 5 Mark Clements A Profession and a Passion ARTISTIC DIRECTOR Chad Bauman Jumpsuits and Bedazzling: 6 EXECUTIVE DIRECTOR Elvis’ Many Iconic Looks Elvis’ Many Iconic Looks PLAYGUIDE WRITTEN BY Desperately Seeking a Diva: 8 Lindsey Hoel-Neds Casey’s Icon Try-Ons Casey’s Icon Try-Ons CONTENT WRITER Drag Queens: 10 Katie Wagner From the Ballrooms to the Mainstream From the Ballrooms to the Mainstream CONTRIBUTING WRITER Walking the Talk: 12 PLAYGUIDE EDITED BY Steps to Serving Fierceness Steps to Serving Fierceness Jenny Toutant Director of Education Featured Artist 13 Auburn Matson Armand Fields esss Education Administrator Talking the Talk: 14 Lisa Fulton Allusions and Terms in the Play Chief Marketing Officer Resources 16 2 The Legend of Georgia McBride – PlayGuide SYPNOSIS The Legend of Georgia McBride tells the story of an upstart Elvis impersonator, Casey, and his journey to stardom. The problem is, he isn’t finding stardom impersonating The King. The rent is late, the checking account is overdrawn, and his wife, Jo, is frustrated. When Jo tells Casey that she is pregnant, he is not sure how they will make it through. One night, just as Casey is getting ready to hit the stage at Cleo’s, a local bar, a tornado of fab and fierce sweeps into his dressing room in the persons of Miss Tracy Mills and Miss Anorexia Nervosa (Rexy), two drag queens. -
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED
©2009 Edgar Rivera Colón ALL RIGHTS RESERVED GETTING LIFE IN TWO WORLDS: POWER AND PREVENTION IN THE NEW YORK CITY HOUSE BALL COMMUNITY by EDGAR RIVERA COLÓN A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Anthropology Written under the direction of Professor Louisa Schein And approved by __________________________ __________________________ __________________________ __________________________ New Brunswick, New Jersey May, 2009 ABSTRACT OF THE DISSERTATION Getting Life in Two Worlds: Power and Prevention in the New York City House Ball Community By EDGAR RIVERA COLÓN Dissertation Director: Dr. Louisa Schein This dissertation project is an ethnographic study of the House Ballroom community in New York City. The House Ballroom community is a Black and Latino/a queer and transgender alternative kinship system and dance performance circuit. Specifically, it follows the lives of HIV prevention workers who are deeply embedded in House Ballroom social networks. Based on four years of anthropological fieldwork, I document the way that these community activists fashion meaningful lives in the meeting point between the Ballroom world and the HIV prevention not-for-profit organizations in New York City. It is also an ethnography of the productive failure of the gay and lesbian movement's inability to include working class Black and Latino/a queer communities in developing a political infrastructure to combat HIV/AIDS in New York City. My informants have helped to develop an alternative civil and political infrastructure by combining material and symbolic resources found in the HIV prevention not-for-profit ii organizations and the House Ballroom community. -
Vancouver Queer Film Festival Announces 2016 Lineup
For Immediate Release: Vancouver Queer Film Festival Announces 2016 Lineup Festival to play host to Madonna’s Strike a Pose dancers, and directors launched at Sundance, Tribeca and Cannes July 13, 2016 (Vancouver, BC) – The Vancouver Queer Film Festival (VQFF) released its complete festival lineup for the 11-day Festival, August 11 to August 21 curated by Artistic Director Shana Myara. More than 68 films will be showcased at the VQFF, along with 25 directors in attendance, 30 performing artists, and 3 free workshops, in addition to parties and talk back sessions. The Festival will host award-winning filmmaker Ingrid Jungermann from New York City and her critically acclaimed film Women Who Kill along with local filmmaker Joella Cabalu and her breakout feature It Runs in the Family. Tickets will be released for sale online at www.queerfilmfestival.ca/tickets this Friday July 15. “I’m exceptionally proud of our lineup this August,” says Artistic Director, Shana Myara. “From collaborative films about transformative trans and Black activists like Miss Major to the daring speculative drama Girls Lost, we bring a range of genres and experiences to make this a celebratory and curiosity-quenching 28th annual Festival. I’m also proud to renew our commitment to supporting the creation of new work with our inaugural Troublemakers videos, by and about local changemakers across generations.” The Festival will host VMA-nominated performer/choreographer Jose Gutierez Xtravaganza and Kevin Stea, both of whom accompanied Madonna on her “Blond Ambition World Tour”, which was the genesis of both the movie Madonna: Truth or Dare and the music video for the chart-topping single “Vogue”. -
WIFF-2019-Program-FULL-1.Pdf
HOW TO WIFF 2 TICKET INFO 3 WHERE TO WIFF 4 WIFF VILLAGE/WIFF ALLEY 5 WHO WE ARE 6-7 SALUTE TO OUR SPONSORS 8-21 SPECIAL THANKS 22 A MESSAGE FROM VINCENT 23 A MESSAGE FROM LYNNE 24 A MESSAGE FROM THE MAYOR 25 FESTIVAL FACTS 26-27 MIDNIGHT MADNESS 28 SPECIAL SCREENINGS 29 WIFF PRIZE IN CANADIAN FILM 30 MARK BOSCARIOL 48-HOUR FLICKFEST 31 WIFF LOCAL 32 WOMEN OF WIFF 33 HOTDOCS SHOWCASE 34 SPOTLIGHT ON ARCHITECTURE 35 LES FILMS FRANCOPHONES 36 IN CELEBRATION OF MUSIC 37 TRIXIE MATTEL 38 LGBTQ2+ 39 SPOTLIGHT AWARD 40 TAKE IT FROM VINCENT 41 OPENING NIGHT FILM 42 CLOSING NIGHT FILM 43 FILM SYNOPSES 44-127 SCREENING CALENDAR 128-137 INDEX BY COUNTRY 138-139 1. PICK YOUR FILMS Films and showtimes can be found online at windsorfilmfestival.com, in the program book or at the box office. Film synopses are listed by title in alphabetical order, with their countries of origin noted. 2. TYPES OF TICKETS If you plan on seeing several films, consider a festival pass for an unlimited movie experience. Show your valid student card for discounted single tickets or festival passes. If you want to catch a show with a large group of 20+, our group sales packages will help you save. If tickets are sold out in advance a limited number of standby tickets will be available at the venue just before showtime. 3. BUY YOUR TICKETS Online – Purchase through your phone or computer by visiting our website. Print them off at home or bring them up on your mobile device. -
November 30-December 6, 2018 / Vol. 41 / No. 2 / Laweekly.Com
anderson cooper talks news • an art gallery on a battleship • perry farrell’s new project ® NOVEMBER 30-DECEMBER 6, 2018 / VOL. 41 / NO. 2 / LAWEEKLY.COM 3 LA WEEKLY WEEKLY | N - D , | | N Spend $100 Get $15 Spend $150 Get $25 THRU DEC 31ST WWW . LAWEEKLY .COM 7733 Santa Monica Blvd. 323.650.1022 FREE PARKING! All purchases over $100 from December 1-December 31st, 2018 qualify for a gift voucher. Oer not valid with any other oer or discount. Oer valid on in-store purchases under $1000 and online purchases at PleasureChest.com under $250. 4 L November 30-December 6, 2018 // Vol. 41 // No. 2 // laweekly.com Perry Farrell LA WEEKLY LA ContentsJessicka Addams | N - D , || | N PHOTO BY GABRIELLE 13GEISELMANMILONE PHOTO BY GL HEUREUX 23 GO LA...6 FEATURE...13 FILM...20 Check out the Henry & Glenn Forever Toy L.A. women are taking a stand for equality BILGE EBIRI reviews Hirokazu Kore-eda’s ADVERTISING Party, eat your fill at the L.A. Times’ 101 in the music industry and nightlife. BY LINA Shoplifters, and ALAN SCHERSTUHL reviews WWW.LAWEEKLY.COM CLASSIFIED...30 Restaurants We Love food event, explore LECARO. HBO’s documentary United Skates, plus EDUCATION/EMPLOYMENT...31 Descanso Gardens’ “Enchanted Forest of other movies OPENING THIS WEEK, and REAL ESTATE/RENTALS...31 Light” and more fun stuff to do and see in ARTS...17 YOUR WEEKLY MOVIE TO-DO LIST. L.A. this week. Alfa Romeo Tango, or A.R.T., is a new BULLETIN BOARD...31 gallery deep within the battleship USS MUSIC...23 NEWS...11 Iowa. -
Chapter Iii Analysis
library.uns.ac.id digilib.uns.ac.id69 CHAPTER III ANALYSIS Representation of reality in a documentary has been questioned by experts whether it is a truth or falsity. Documentary works with actual events, persons, and places and then takes those things as its raw material. Grierson (1946) says that the root of documentary is reality by considering that film maker can manipulate it through creativity (as cited in Debora, 2015). Therefore, the same as another film genre, documentary film is an art form. Documentary film is a construction and a manipulated work in which selection of topic, editing, and mixing sound are carried out within. Moreover, Beattie (2004) states that the construction of documentary is library.uns.ac.id digilib.uns.ac.id70 organized through arguments of film maker about truthfulness which is presented in the forms of essays, diaries, reports, or eulogies (as cited in Debora, 2015). Paris is Burning is a film documentary about self-affirmation, empowerment and life of Black and Latino gay and transgender in drag community. This film presents White subcultures; balls and life of gay and transgender in New York. The social issues reflected in Paris is Burning needs to be investigated by observing the elements of documentary including narrations, dialogues and mis-en-scene. Setting of place and setting of time define pictures which will appear on the screen. Through setting of place and time, audiences can see social condition in certain places and certain time. As I have mentioned, the story of Paris is Burning takes a place in New York. -
Slide Back in Time to the Swinging Seventies for C'est CHIC Vogue
Slide back in time to the swinging seventies for C’est CHIC Vogue Ball, co-curated by UK Prince Bam Bam Mulan 007 of the Kiki House of Mulan. Generations have danced, vogued and posed to CHIC. Join the London ballroom scene at a Riverside Terrace takeover honouring CHIC’s back catalogue of disco glamour classics. The ballroom scene grew to prominence in 1980s New York, pioneered by the queer Black and Latino community as a space for queer people of colour to congregate, dance and celebrate. London's ballroom scene has continued in this lineage, creating a safe space for new generations to find community and express themselves. In a ball, competitors face off on the catwalk for ultimate glory. There are different categories, which are based on themes, skills and techniques – for this year’s Meltdown we're taking you all the way back to CHIC’s heyday with categories including All-American Runway, Best-Dressed Spectator and a Drag Lip Sync. Check the terminologies and category descriptions below for which categories you can walk. TERMINOLOGY MF (male figure): butch queen, butch, transman, transmasculine, non-binary FF (female figure): femme queen, transfemme, drag, non-binary OTA: open to all *Non-binary, gender non-conforming, and gender fluid people may walk in whichever gendered subdivision they choose. REALNESS Jimi Hendrix (MF) This year’s Meltdown curator Nile Rodgers remembers having jammed with Hendrix, but that historic moment was not recorded. Mark your place in Meltdown history and embody the Summer of Love with a bold blazer and floral prints.