scholarly journals Llámame Rey Bolllero. Los talleres Drag King desde las voces del activismo lesbiano y queer español

2019 ◽  
Vol 10 (1) ◽  
pp. 97-114
Author(s):  
Melani Penna Tosso ◽  
Yera Moreno Sáinz-Ezquerra
Keyword(s):  
Drag King

Los talleres Drag King son actos revolucionarios del lesbianismo feminista queer. Desde su surgimiento en los años ochenta se han asociado con las prácticas de resistencia, creación y difusión de los saberes lesbianos articulados en torno al género. El presente artículo aporta a la memoria colectiva un posible diseño de taller Drag King, y su potencialidad política, desde la visión que de los mismos tienen las lesbianas feministas queer españolas. La investigación para el diseño del taller se realizó empleando una metodología cualitativa. Se hicieron entrevistas individuales a seis personas con experiencias en los talleres drag desde su posiciones de talleristas o facilitadoras, participantes y/o ayudantes. El análisis de los testimonios personales de las protagonistas permitió estructurar un posible modelo de taller Drag King especificando objetivos, contenidos, metodología y evaluación. La propuesta diseñada, a partir de la investigación planteada, pretende contribuir al registro y la articulación de discursos y saberes en torno a las prácticas lesbianas y queer en el estado español.

scholarly journals Du Drag au Post-Drag: la performance travestie à l’épreuve de l’ethnicité et de la classe

2017 ◽  
Vol 7 (2) ◽  
pp. 225-248
Author(s):  
Luc Schicharin
Keyword(s):  
Minorités Ethniques ◽  
Drag King ◽  
Drag Kings

Résumé: L’objectif de cet article est d’examiner les limites du discours et des stratégies esthétiques du drag king, inspirées par la théorie butlérienne de Trouble dans le genre. Nous mettons l’accent sur le risque potentiel - mais réellement problématique - de la stigmatisation des hommes issus des minorités ethniques et des populations pauvres au sein de plusieurs actions drag kings. Enfin nous qualifions de post-drag les performances qui abordent les intersectionnalités du genre, de la sexualité, de la race et de la classe sans reproduire les stéréotypes de la suprématie hétérosexuelle blanche.

To be a Showboy

2017 ◽  
Author(s):  
Lou Henry Hoover
Keyword(s):  
New York ◽  
Modern Dance ◽  
Drag Queen ◽  
Masculinity And Femininity ◽  
Drag King ◽  
Queer Performance

Lou Henry Hoover writes about his experience of creating persona-driven performance, performing gender, and using camp to toe the line between comedy and tragedy. As an artist, Lou works at the intersection of drag king-ing, burlesque, and modern dance to create a persona—“Lou Henry Hoover—as a way to draw attention to the artifice of gende sexuality. In the essay, Hoover discusses how the stage offers a platform to borrow from the drag queen performance, the genre of queer performance most often association with play with artifice, and then remix that better known form of camp with other dance forms and a wider range of masculinity and femininity. The essay discuses Hoover’s work with several collaborators, most notably artistic and life partner Kitten LaRue, and Hoover’s work in several contexts, ranging from theatrical venues in New York and Seattle to television appearances with Tony Bennett and Lady Gag.

With Masquerading Against Gender Binarisms

Maska ◽  
2018 ◽  
Vol 33 (189) ◽  
pp. 50-58
Author(s):  
Alenka Spacal
Keyword(s):  
Middle Part ◽  
Masculinity And Femininity ◽  
Drag King ◽  
Cross Dressing

The text discusses the Berlin-based artist Bridge Markland’s transgender performance entitled bridgeland zwei (1996). It is one of the most thought-out and one of the artistically most refined contemporary drag king/queen performances. With an exceptionally perfected cross-dressing, the performer transcended the gender binarism of the established concepts of masculinity and femininity. She first put on the mask of femininity, and then changed into a male protagonist. In the middle part of the staging and at the very end, she appeared as an androgynous being. It is shown how, with the help of exaggerations, strong parody, irony and even grotesqueness, the performer’s carnival body dressed up in the clothes and accessories characteristic of a precisely determined gender tried to overcome the rigid conventions of social heteronormativity.

scholarly journals DRAG QUEENS VÃO À ESCOLA: ESTRANHAMENTOS CURRÍCULARES E O “PAVONEAR” DAS DIFERENÇAS EM UM ESPAÇO INSTITUCIONAL

2019 ◽  
Vol 2 ◽  
pp. 163
Author(s):  
Rodrigo Pedro Casteleira ◽  
Adalberto Ferdnando Inocêncio ◽  
Alexandre Luiz Polizel
Keyword(s):  
Drag Queen ◽  
Drag King ◽  
Drag Kings ◽  
Drag Queens

Com base nas observações realizadas em um estudo de caso, busca-se descrever e analisar certos elementos observados em uma atividade que integrou uma gincana escolar da rede estadual de ensino do município de Maringá-PR. Tal acontecimento consistiu num desfile em que os alunos e alunas apresentaram-se como drag queens e drag kings, respectivamente, e foram avaliados em sua performance por três drag queens convidadas especificamente para esta função. Reconheceram-se nesta singularidade elementos potentes para se pensar as questões de performance de gênero e suas relações com o currículo normativo que se constituiu na escola moderna, expressando-se como uma significativa contribuição nas produções políticas da diferença. Lendo as personagens drag queen e drag king como paródias que denunciam, ou mesmo, visibilizam a precariedade de gênero, fez-se potente a expressão “estranhamento” do currículo. 

scholarly journals Lesbian fandom remakes the boy band

2020 ◽  
Vol 34 ◽  
Author(s):  
Jessica Pruett
Keyword(s):  
United States ◽  
The United States ◽  
Queer Women ◽  
Performance Group ◽  
Drag King ◽  
Women's Music ◽  
Political Tactics ◽  
Political Intervention ◽  
A Site ◽  
Community Space

Lesbians and other queer women are typically absent from theorizations of boy band fandom even though boy bands often have sizable lesbian fan bases. Lesbian fandom of the British–Irish boy band One Direction congregated primarily on Tumblr; this fandom constituted a queer community space that exposed the boy band as a site of lesbian erotic and creative energy. One manifestation of lesbian One Direction fandom was the drag king performance group known as Every Direction, which maintained an active Tumblr page in addition to performing live drag king renditions of popular One Direction songs. Interviews with the group's members, along with a content analysis of lesbian Tumblr fandom of One Direction, illuminate the significant creative output of this understudied fan community. This phenomenon is placed into conversation with the lesbian feminist–affiliated Women's Music Movement of the 1970s, which had a lasting impact on popular conceptions of lesbian musical preferences in the United States. I argue that lesbian One Direction fandom constitutes a contemporary queer political intervention that reworks lesbian feminist political tactics and priorities. This data acts as a record of the lesbian One Direction fan community that congregated on Tumblr during the band's heyday, as well as an intervention in scholarly theorizations of lesbian fans and fan practices.

scholarly journals Los talleres Drag King: Una metodología feminista de investigación encarnada

2018 ◽  
Vol 9 (13) ◽  
pp. 55-79
Author(s):  
Alba Pons Rabasa
Keyword(s):  
Life History ◽  
Gender Identity ◽  
Research Methodology ◽  
Drag King ◽  
Political Category ◽  
Embodied Research ◽  
The Way

En el marco de las críticas post-estructuralistas a la identidad, propongo el drag king como una metodología feminista de investigación encarnada que nos permite reflexionar corporalmente en torno a la identidad de género en tanto experiencia, pero también en tanto categoría teórica y política. A partir de dicho ejercicio performático y performativo se evidencian los desbordamientos y las tensiones existentes entre la propia experiencia y la representación de la misma. En un primer momento, ubicaré el origen de los talleres Drag King como herramienta de concienciación feminista, para después exponer lo que tal experiencia supone en una trayectoria vital específica a través de un breve relato autoetnográfico y, a partir de allí, problematizar la identidad de género.Palabras clave: autoetnografía, investigación encarnada, identidad de género, performatividad, performance.Drag King Workshops: A Feminist Embodied Research MethodologyAbstractBased on post-structuralist critiques of identity, this paper argues that drag king performances may serve as a feminist embodied research methodology that allows us to think of gender identity as corporeal experience, but also as a theoretical and political category. These performative exercises make clear the overflows, tensions and gaps between first hand experiences and the way in which these might be represented and read by others. The origin of the Drag King workshops as a feminist awareness technique is briefly discussed. This is followed by a self-reflexive ethnography in which the author explains how drag king performances affected her own life history and how this led her to a problematization of gender identity.Recibido: 30 de agosto de 2017Aceptado: 09 de febrero de 2018

“Girlie Man, Manly Girl, It’s all the Same to me”

2019 ◽  
pp. 22-35
Keyword(s):  
Life History ◽  
Male Characters ◽  
Drag King ◽  
Historical Archive ◽  
Wide Range ◽  
Queer Culture ◽  
Current Events ◽  
History Of ◽  
Community Shifts ◽  
Do So

First published in 1983 in Womanews, and later widely syndicated, Alison Bechdel’s Dykes To Watch Out For (DTWOF) series not only created an unparalleled historical archive of queer culture, it also shaped both the lesbian comix and queer comics that came after it in remarkable ways. Through her use of a wide range of characters having pointed conversations about then-current events and politics, debating identity, desire, and shifting representation, or simply going out to dinner at Café Topaz, the local vegetarian restaurant, Bechdel catalogues a life history of these lesbians and their community—even as that community shifts in unanticipated ways, as our understanding of binary gender shifts and continues to do so today. For a strip that initially included no men, DWTOF ended up including a number of male characters in order to explore what “male” meant through drag king culture, non-binary characters, and characters who identify as transgender.

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