Art And Acceptance Stemming From Adversity

Paris is Burning is a documentary about the ‘ballroom culture’ of LGBT and black cultures. It was shot in the mid-80s in New York, but it was released 1990. Through the film and the characters, many aspects of this culture are explored. Things like ‘realness’, ‘balls’, and the different concept of ‘family’ that the members of this community have, allows us to see and learn more about the drag community and what is like to see the world through their eyes. Besides all of these aspects, the film main focus is gender identity, theme that has also bring about many opinions about what gender is and what does it mean to be a woman. Some of the questions that the film has raised are if to be a woman is to be born like one or is just to look like one.

The purpose of this research question is how the representation of drag culture and sexual identity in the cult classic The Rocky horror picture show (Jim Sharman, 1975). This will be done through the use of a textual analysis taking the scenes and characters from the picture show and analysing those using theories and additional scholars analysis made about the film to back up the critique that is made. The Rocky horror picture show is considered the best cult movie by Rolling Stones magazine (N/A, 2014, online). The film is about a newly engaged couple called Brad portrayed by Barry Bostwick and Janet portrayed by Susan Sarandon. When one night their car breaks down by a castle. As they stumble into this castle there created by world so unlike

Well the author makes persuasive arguments to both support and denounce burlesque as a vehicle for female appropriation, he fails to provide empirical evidence to support his verdict. Thus, the article would have been strengthened by the inclusion of more comprehensive, ethnographic material of all ten of the participants. Renouf also claims that due to limited space, he was only able to focus on two of the ten interviewees, but nevertheless, spends time deviating from the evidence to discuss more inconsequential matters, such as his outfits for attending the shows. Nevertheless, when the author does provide data via ethnographic material from his interviews, it enables the reader a glimpse into the lives of these performers. This establishes a unique relationship, where the reader develops a personal relationship with these burlesque artists, and consequently, feels their experiences in an intimate, albeit vicarious, mode. This humanizes the performers, in a performance art that is not always viewed as acceptable. Thus, this approach makes the article valuable, and a worthwhile addition to my own research

The molds of gender norms have softened in the last couple decades with the acceptance of formerly radical identities such as cross dressing, drag, but these norms are difficult to break because genders are assigned to individuals at birth and complying to the norms associated with that sex is deemed as socially acceptable. Another reason these norms may be hard to break is that they provide comfort towards those who already been accepted into society. This provides a little insight as to why there is a restriction of genderqueer identities in television. Especially when accustomed to writing for an audience that has grown up with only the female/ male binaries, expanding past and between is a frightful risk for the television market (Killermann 51-52).

While the men share a homosexual orientation, gay men were divided by social hierarchies (professional, street, and fairy drag queens), age, gender, and race. The age division is revealed in the assertion that the community places “an extreme value on youth.” The gender division is highlighted when men state, “men far outweigh gay women in the gay life.” As far as the racial division, this aspect is emphasized in Newton’s statement that she met only a few gay black men leading her to claim, “I assume that they tend to be confined to the ghetto.” This study of female impersonators in America is largely a study of white drag queens. While this work is underdeveloped in discussing race, it leaves the field wide open for discussion of black drag queens in the

Gender roles play a big part of that misconception. In the journal “Drag Queen as Angel” they are seen as a care givers and someone that will watch over you. Like angels, the drag queens serve as messengers, defenders, and miracle workers to the earthly humans with whom they come into contact. In our society being nurturing, kind, and enticing are traits of a woman and being strong and unemotional are traits of a man. Also in our society clothes, makeup, and wigs are all things for women. Some people might think why would a masculine straight man want to be perceived as things

The purpose of this research was to discover the role of make-up as a primary tool of consumption and as a result, it shed light on the act of doing drag to create an illusion of gender performance. From watching the transformation that takes place in the dressing room, and listening to the accounts of their character creation, it is easy to see in concrete terms how unstable the categories of “masculine” and “feminine”, and, “heterosexual” and “homosexual” really are. In fact, it can be argued that drag is a specific type of performance akin to method acting that has enabled drag impersonators to unintentionally remove the dichotomous relationship of gender and sexuality through the authenticity or parodic quality of their performance. They achieve this destabilisation of gender and sexuality through their use of cosmetics and artistic techniques such as, studying existing characters and using lights and shadows to build upon themselves so to create a character. This research demonstrates that a person’s desire to impersonate the opposite gender is not always evidence of a motivation related to gender

RuPaul claims in the above quote that everybody is performing, they are projecting an image in order to build a perceived persona about themselves within society. But in order to be accepted in society one most perform in a way that fits societies gender constructions. This can be explained using Butler’s explanation of Gender performativity, the idea that we learn how to perform our gender. The effect this has on individuals that do not fit these “gender norms” can be seen in the 1990 documentary film Paris is Burning (Paunparia: Paris is burning. 2012).

Later, during the drag show this drag queen shared and discussed her sexual preference, sexual acts, and personal failures in a direct and open way. At one point implored to audience to “clap harder faggots [sic]”. For the Western members of the group, this statement caused a physical wince, this slur being taboo in general Western culture.

Mama Ru (RuPaul Charles’ Drag Queen persona) gave her perspective on an episode of Drag Race with this quote: “If you can’t love yourself, how in the hell are you gonna love somebody else?” the aspiration with this quote, it is to show the relevance that even with a different lifestyle, such as the “drag” life, self-love is respected in that controversial world. Over the centuries, men dressing as women has been going on since the dawn of the theatre, but what society do not know is the great Shakespeare, the beloved wordsmith of the English language, invented the term ‘drag’; to describe the event of cross-dressing. Even after women were allowed, dressing up as women was often used in entertainment for

Throughout the 20th century, women struggled to take their place as female artists. One artist who has become very well-known and admired for her bravery and talent is Frida Kahlo. Her art was greatly inspired by her indigenous Mexican culture, she brought bright colors and dramatic symbolism to her works. She primarily painted bold self-portraits, and brought her own personal experiences to life through her artwork. The life of Frida Kahlo is one of love, suffering, and talent.

This experience with Marie reflects the queer performative theory. “Queer theory is a critique of conventional categories of identity and cultural views of ‘normal’ and ‘abnormal,’ particularly in relation to sexuality. [It also] argues that identities are not fixed, but somewhat fluid” (Wood, 2013, p. 54). “Performance theory argues that humans generate identities, including gender, through performance or expression” (Wood, 2013, p. 55). By identifying herself as female but choosing to express and perform herself in

The queens accept their role in exaggerating the ideas of femininity, and really try to go the extra mile. Not only do the physically make themselves appear hysterical; they create such intricate personalities that use wit and humour to captivate their audiences. This contemporary alternative often makes gay men and even drag queens themselves the butt of their jokes, and most people enjoy these self-deprecating acts. Another end of this genre is the group of queens who embrace their masculine bodies while still performing drag. One star that is a more subtle caricature of feminism is the famed RuPaul. He was one of the original men who would clearly expose his male body while donning wild wigs and heavy makeup. After this phase, he moved into what is called “glamour drag”, which is the persona that skyrocketed him into fame. He is most known for his Dolly Parton-sized blonde wigs, high heels, and tight ‘tucks’ (the act of tucking your male genitalia between your legs to make it appear as if you do not have those parts). What makes RuPaul different than most other drag queens is that he performs his own songs, while most are known for lip-synching. Also, rather than imitating celebrities, he has created his own drag persona. His character is fully his; he makes it clear that he is a gay man of colour underneath pounds of fake hair and makeup, and that he is performing this character. This character is not who he always is, though it is a part of him. He never tries to be anyone

There are stages where they hide their lesbianism because are afraid to not be accepted and when they get to the point and feel that they can’t hide their lesbianism anymore they show their lesbianism. In this article the author Cogan also talks about how some lesbians, talk about the freedom they experienced after coming out the freedom they feel after abandon traditional beauty expectations that forced them into high heels, dresses, and big hairstyles that for some felt uncomfortable and even like a crown after they coming out they feel more comfortable with themselves because they can be what they are walk, do thing without being criticized. This article is perfect for those who want to learn more about lesbianism. Cogan includes some studies about how lesbian feel in certain ways and doing certain things. She gives us lot information about how they build their

Now this is where I destroy the idea that only queer men do drag. Drag is extremely inclusive and anyone can join in on the fun. For example we have drag kings, bio queens, even young aspiring queens like 8 year old Lactacia are welcome. Drag kings can be defined as women and dressed as men for performance and entertainment. Performers like Landon Cider, Robin Heartz, and Spikey Van Dykey. Bio queens on the other hand are women dressed as an exaggerated idea of being female. Women such as Tayla Macdonald, the girls of Drag Coven Aka Courtney Conquer and Ja’mie Queen West, and Lucy Garland are well known in the community. As for Lactacia, the 8 year old drag queen the young queen have recently blown up in the media and the world of drag. Lactacia and their mother recently did an interview with Elle Magazine where they were asked how the 8 year old got into drag, like many others including myself it all started with a little show called Rupaul’s Drag Race. Drag Race is a reality competition show where they find the next drag superstar. Much like Americas Next Top Model, but with much more charisma, uniqueness, nerve, and talent. Through the growing popularity of the show it is spreading the art of drag and the magic behind it. Not only has casted a spell on Lactacia and I, but millions of others as well.