Drag King' to Fe•E B~In Brenlendinghem the First Time I Dressed in Drag Was an Abject Failure
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The Reconstruction of Gender and Sexuality in a Drag Show*
DUCT TAPE, EYELINER, AND HIGH HEELS: THE RECONSTRUCTION OF GENDER AND SEXUALITY IN A DRAG SHOW* Rebecca Hanson University of Montevallo Montevallo, Alabama Abstract. “Gender blending” is found on every continent; the Hijras in India, the female husbands in Navajo society, and the travestis in Brazil exemplify so-called “third genders.” The American version of a third gender may be drag queen performers, who confound, confuse, and directly challenge commonly held notions about the stability and concrete nature of both gender and sexuality. Drag queens suggest that specific gender performances are illusions that require time and effort to produce. While it is easy to dismiss drag shows as farcical entertainment, what is conveyed through comedic expression is often political, may be used as social critique, and can be indicative of social values. Drag shows present a protest against commonly held beliefs about the natural, binary nature of gender and sexuality systems, and they challenge compulsive heterosexuality. This paper presents the results of my observational study of drag queens. In it, I describe a “routine” drag show performance and some of the interactions and scripts that occur between the performers and audience members. I propose that drag performers make dichotomous American conceptions of sexuality and gender problematical, and they redefine homosexuality and transgenderism for at least some audience members. * I would like to thank Dr. Stephen Parker for all of his support during the writing of this paper. Without his advice and mentoring I could never have started or finished this research. “Gender blending” is found on every continent. The Hijras in India, the female husbands in Navajo society, and the travestis in Brazil are just a few examples of peoples and practices that have been the subjects for “third gender” studies. -
Gay Subculture Identification: Training Counselors to Work with Gay Men
Article 22 Gay Subculture Identification: Training Counselors to Work With Gay Men Justin L. Maki Maki, Justin L., is a counselor education doctoral student at Auburn University. His research interests include counselor preparation and issues related to social justice and advocacy. Abstract Providing counseling services to gay men is considered an ethical practice in professional counseling. With the recent changes in the Defense of Marriage Act and legalization of gay marriage nationwide, it is safe to say that many Americans are more accepting of same-sex relationships than in the past. However, although societal attitudes are shifting towards affirmation of gay rights, division and discrimination, masculinity shaming, and within-group labeling between gay men has become more prevalent. To this point, gay men have been viewed as a homogeneous population, when the reality is that there are a variety of gay subcultures and significant differences between them. Knowledge of these subcultures benefits those in and out-of-group when they are recognized and understood. With an increase in gay men identifying with a subculture within the gay community, counselors need to be cognizant of these subcultures in their efforts to help gay men self-identify. An explanation of various gay male subcultures is provided for counselors, counseling supervisors, and counselor educators. Keywords: gay men, subculture, within-group discrimination, masculinity, labeling Providing professional counseling services and educating counselors-in-training to work with gay men is a fundamental responsibility of the counseling profession (American Counseling Association [ACA], 2014). Although not all gay men utilizing counseling services are seeking services for problems relating to their sexual orientation identification (Liszcz & Yarhouse, 2005), it is important that counselors are educated on the ways in which gay men identify themselves and other gay men within their own community. -
Gender Identity • Expression
In New York City, it’s illegal to discriminate on the basis of gender identity and gender expression in the workplace, in public spaces, and in housing. The NYC Commission on Human Rights is committed to ensuring that transgender and gender non-conforming New Yorkers are treated with dignity and respect and without threat of discrimination or harassment. This means individuals GENDER GENDER have the right to: • Work and live free from discrimination IDENTITY EXPRESSION and harassment due to their gender One's internal, External representations of gender as identity/expression. deeply-held sense expressed through, for example, one's EXPRESSION • Use the bathroom or locker room most of one’s gender name, pronouns, clothing, haircut, consistent with their gender identity as male, female, behavior, voice, or body characteristics. • and/or expression without being or something else Society identifies these as masculine required to show “proof” of gender. entirely. A transgender and feminine, although what is • Be addressed with their preferred person is someone considered masculine and feminine pronouns and name without being whose gender identity changes over time and varies by culture. required to show “proof” of gender. does not match Many transgender people align their • Follow dress codes and grooming the sex they were gender expression with their gender standards consistent with their assigned at birth. identity, rather than the sex they were gender identity/expression. assigned at birth. Courtesy 101: IDENTITY GENDER • If you don't know what pronouns to use, ask. Be polite and respectful; if you use the wrong pronoun, apologize and move on. • Respect the terminology a transgender person uses to describe their identity. -
A Look at 'Fishy Drag' and Androgynous Fashion: Exploring the Border
This is a repository copy of A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/121041/ Version: Accepted Version Article: Willson, JM orcid.org/0000-0002-1988-1683 and McCartney, N (2017) A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. Critical Studies in Fashion and Beauty, 8 (1). pp. 99-122. ISSN 2040-4417 https://doi.org/10.1386/csfb.8.1.99_1 (c) 2017, Intellect Ltd. This is an author produced version of a paper published in Critical Studies in Fashion and Beauty. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 JACKI WILLSON University of Leeds NICOLA McCARTNEY University of the Arts, London and University of London A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman Abstract This article seeks to re-explore and critique the current trend of androgyny in fashion and popular culture and the potential it may hold for gender deviant dress and politics. -
Safe Zone Manual – Edited 9.15.2015 1
Fall 2015 UCM SAFE ZONE GUIDE FOR ALLIES UCM – Safe Zone Manual – Edited 9.15.2015 1 Contents Safe Zone Program Introduction .............................................................................................................. 4 Terms, Definitions, and Labels ................................................................................................................. 6 Symbols and Flags................................................................................................................................... 19 Gender Identity ......................................................................................................................................... 24 What is Homophobia? ............................................................................................................................. 25 Biphobia – Myths and Realities of Bisexuality ..................................................................................... 26 Transphobia- Myths & Realities of Transgender ................................................................................. 28 Homophobia/biphobia/transphobia in Clinical Terms: The Riddle Scale ......................................... 30 How Homophobia/biphobia/transphobia Hurts Us All......................................................................... 32 National Statistics and Research Findings ........................................................................................... 33 Missouri State “Snapshot” ...................................................................................................................... -
From Sissy to Sickening: the Indexical Landscape of /S/ in Soma, San Francisco
From sissy to sickening: the indexical landscape of /s/ in SoMa, San Francisco Jeremy Calder University of Colorado, Boulder [email protected] ABSTRACT: This paper explores the relation between the linguistic and the visual in communicating social meaning and performing gender, focusing on fronted /s/ among a community of drag queens in SoMa, San Francisco. I argue that as orders of indexicality (Silverstein 2003) are established, linguistic features like fronted /s/ become linked with visual bodies. These body-language links can impose top-down restrictions on the uptake of gender performances. Non-normatively gendered individuals like the SoMa queens embody cross-modal figures of personhood (see Agha 2003; Agha 2004) like the fierce queen that forge higher indexical orders and widen the range of performative agency. KEY WORDS: Indexicality, performativity, queer linguistics, gender, drag queens 1 Introduction This paper explores the relation between the linguistic and the visual in communicating social meaning. Specifically, I analyze the roles language and the body play in gender performances (see Butler 1990) among a community of drag queens and queer performance artists in the SoMa neighborhood of San Francisco, California, and what these gender performances illuminate about the ideological connections between language, body, and gender performativity more generally. I focus on fronted /s/, i.e. the articulation of /s/ forward in the mouth, which results in a higher acoustic frequency and has been shown to be ideologically -
“Brazil, Show Your Face!”: AIDS, Homosexuality, and Art in Post-Dictatorship Brazil1
“Brazil, Show Your Face!”: AIDS, Homosexuality, and Art in Post-Dictatorship Brazil1 By Caroline C. Landau Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts In the Department of History at Brown University Thesis Advisor: James N. Green April 14, 2009 1 Cazuza, “Brasil,” Ideologia, Universal Music Group, 1988. My translation Acknowledgements Writing this thesis would not have been possible without the help, guidance, and support of many people. While in Brazil, I had the tremendous pleasure of getting to know the archivists at Associação Brasileira Interdisciplinar de AIDS (ABIA) in Rio de Janeiro, particularly Aline Lopes and Heloísa Souto, without whose help, patience, enthusiasm, goodwill, suggestions, and encyclopedic knowledge of AIDS in Brazil this thesis would never have come to fruition. Thank you also to Veriano Terto, Jr. from ABIA for agreeing to speak with me about AIDS grassroots organization in an interview in the fall of 2007. I am grateful to Dr. Vânia Mercer, who served as a sounding board for many of my questions and a font of sources on AIDS in Brazil in the early 1990s and presently. Thank you to Patricia Figueroa, who taught me the ins-and-outs of the Brown University library system early on in the research of this thesis. Thank you also to the Brown University Department of History for the stipend granted to thesis writers. Part of my research is owed to serendipity and luck. I count as one of my blessings the opportunity to have met Jacqueline Cantore, a longtime friend of Caio Fernando Abreu’s and former MTV executive in Brazil. -
Terminology Packet
This symbol recognizes that the term is a caution term. This term may be a derogatory term or should be used with caution. Terminology Packet This is a packet full of LGBTQIA+ terminology. This packet was composed from multiple sources and can be found at the end of the packet. *Please note: This is not an exhaustive list of terms. This is a living terminology packet, as it will continue to grow as language expands. This symbol recognizes that the term is a caution term. This term may be a derogatory term or should be used with caution. A/Ace: The abbreviation for asexual. Aesthetic Attraction: Attraction to someone’s appearance without it being romantic or sexual. AFAB/AMAB: Abbreviation for “Assigned Female at Birth/Assigned Male at Birth” Affectionional Orientation: Refers to variations in object of emotional and sexual attraction. The term is preferred by some over "sexual orientation" because it indicates that the feelings and commitments involved are not solely (or even primarily, for some people) sexual. The term stresses the affective emotional component of attractions and relationships, including heterosexual as well as LGBT orientation. Can also be referred to as romantic orientation. AG/Aggressive: See “Stud” Agender: Some agender people would define their identity as not being a man or a woman and other agender people may define their identity as having no gender. Ally: A person who supports and honors sexual diversity, acts accordingly to challenge homophobic, transphobic, heteronormative, and heterosexist remarks and behaviors, and is willing to explore and understand these forms of bias within themself. -
An Exploration of Gender, Sexuality and Queerness in Cis- Female Drag Queen Performance
School of Media, Culture & Creative Arts Faux Queens: an exploration of gender, sexuality and queerness in cis- female drag queen performance. Jamie Lee Coull This thesis is presented for the Degree of Doctor of Philosophy of Curtin University November 2015 DECLARATION To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Human Ethics The research presented and reported in this thesis was conducted in accordance with the National Health and Medical Research Council National Statement on Ethical Conduct in Human Research (2007) – updated March 2014. The proposed research study received human research ethics approval from the Curtin University Human Research Ethics Committee (EC00262), Approval Number #MCCA-12-12. Signature: Date: 20/11/2015 i ABSTRACT This PhD thesis investigates the cultural implications of cis-women performing female drag, with particular focus on cis-female drag queens (aka faux queens) who are straight-identified. The research has been completed as creative production and exegesis, and both products address the central research question. In the introductory chapter I contextualise the theatrical history of male-to-female drag beginning with the Ancient Greek stage, and foreground faux queens as the subject of investigation. I also outline the methodology employed, including practice-led research, autoethnography, and in-depth interview, and provide a summary of each chapter and the creative production Agorafaux-pas! - A drag cabaret. The introduction presents the cultural implications of faux queens that are also explored in the chapters and creative production. -
Laura Harris, Curriculum Vitae
Laura Alexandra Harris Professor English, World Literature, and Africana Studies Pitzer College ● 1050 N. Mills Avenue ● Claremont, CA ● 909-607-3633, [email protected] EDUCATION Ph.D. Literatures in English, 1997 Literature Department, University of California San Diego C. Phil. and M.A. Literatures in English, University of California San Diego, 1994 B.A. Comparative Literature, San Diego State University, 1990 A.A. General Studies, Southwestern Community College, 1988 RESEARCH INTERESTS 20th century African American literature and culture, Feminist and Queer Theory, African Diaspora Studies, Performance Studies PUBLICATIONS “What’s in a name?” That which we call brilliance by any other name would read as Festus Claudius McKay” invited book review for Radical History Review, “Re- Conceptualizing the African Diaspora,” issue 103. Editors Michelle Stephens, Melina Pappademos, and Erica Ball, Duke University Press, Winter 2009. Hybrid Italians, Diasporic Africans: Who’s/Whose Meticcio?” Callaloo: A Journal of African Diaspora Arts & Letters 31.2. Editor Charles H. Rowell. Baltimore, Maryland: Johns Hopkins University Press, Spring 2008. “Confessions of the Pillow Queen: Sexual Receptivity & Queer Femininities.” Tribades, Tommies, and Transgressives: Histories of Sexualities: Volume I Editors Mary McAuliffe and Sonja Tiernan. University College Dublin: Cambridge Scholars Press, Spring/Summer 2008. “On Teaching A Black Queer Harlem Renaissance.” Teaching the Harlem Renaissance: Course Design and Classroom Strategies. Editor Michael Soto. New York: Peter Lang Publishing, African American Literature and Culture Series: Expanding and Exploding the Boundaries, Vol.16, Spring 2008. French translation and reprint of, “Queer Black Feminism: The Pleasure Principle,” (Feminist Review #54 1996), in Black Feminism: Anthologie du féminisme africain- américain, 1975-2000, from the collections of la Bibliothèque du Féminisme, codirectrice Hélène Rouch, Editions L’Hartmattan: Paris, Spring 2008. -
Shame and the Narration of Subjectivity in Contemporary U.S.-Caribbean Fiction
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository BLUSHING TO BE: SHAME AND THE NARRATION OF SUBJECTIVITY IN CONTEMPORARY U.S.-CARIBBEAN FICTION María Celina Bortolotto A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2008 Approved by: Professor María DeGuzmán Professor Tanya Shields Professor Alice Kuzniar Professor Rosa Perelmuter Professor Rebecka Rutledge-Fisher © 2008 María Celina Bortolotto ALL RIGHTS RESERVED ii ABSTRACT BLUSHING TO BE: Shame and the Narration of Subjectivity in Contemporary U.S.- Caribbean Fiction (Under the direction of Dr. María DeGuzmán and Dr. Tanya Shields) This study engages shame/affect (mostly psychoanalytical) theory in an interdisciplinary approach that traces narratives of resistance from “invisible” subjectivities within dominant U.S.- Caribbean discourses in contemporary fictional texts. It consists of an introduction, four chapters, and a conclusion. The introduction provides a precise theoretical background for the study. It defines key terms making a detailed reference to the prevailing discourses in the Caribbean and the U.S. The first chapter reveals examples in the fiction of the complex relationship between shame and visibility/invisibility as embodied in the figure of the secret/closet, in relation to prevailing identity discourses. The second chapter analyzes the relationship of shame with narcissistic and masochistic tendencies as presented in the fiction, evaluating the weight of narratives in the dynamics of such disorders. -
University of Oklahoma Graduate College the Performer-Audience Connection: an Exploration of the Performative Power of Drag Quee
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SHAREOK repository UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE PERFORMER-AUDIENCE CONNECTION: AN EXPLORATION OF THE PERFORMATIVE POWER OF DRAG QUEENS IN OKLAHOMA CITY A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By CASSANDRA R. NEGRON Norman, Oklahoma 2016 THE PERFORMER-AUDIENCE CONNECTION: AN EXPLORATION OF THE PERFORMATIVE POWER OF DRAG QUEENS IN OKLAHOMA CITY A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Marvin Lamb ______________________________ Dr. Dan Schwartz © Copyright by CASSANDRA R. NEGRON 2016 All Rights Reserved. Acknowledgements My deepest gratitude goes to my thesis advisor, Dr. Paula Conlon. Her patience and expertise allowed me to express my ideas in a clear, genuine nature. Without her guidance, this thesis would not have been possible. I would like to thank my committee members, Dr. Dan Schwartz and Dr. Marvin Lamb, for their constant counsel and encouragement during my time at the University of Oklahoma. Also, I would like to thank Dr. Zoe Sherinian for her assistance in the early development of this thesis. Additional thanks goes to my dear friends, Adam Hall and David Pendock, for their academic and emotional support. Both Adam and David have edited drafts of this thesis and offered insightful critique of my work. I would also like to thank my friend Joshua Patterson for his fantastic work designing the map of “The Strip.” His talents have been able to capture the setting more realistically than I could have on my own.