Racializing white drag.
While drag is primarily understood as a performance of gender, other performative categories such as race, class, and sexuality create drag meaning as well. Though other categories of identification are increasingly understood as essential elements of drag by performers of color, whiteness remains an unmarked category in the scholarship on drag performances by white queens. In this paper, I argue that drag by white queens must be understood as a performance of race as well as gender and that codes of gender excess are specifically constructed through the framework of these other axes of identity. This essay asks whether white performance by white queens necessarily reinscribes white supremacy through the performance of an unmarked white femininity, or might drag performance complicate (though not necessarily subvert) categories of race as well as gender? In this essay, I will suggest that camp drag performances, through the deployment of class as a crucial category of performative femininity, might indeed be a key site through which whiteness is denaturalized and its power challenged. Specifically, I will read on camp as a politicized mode of race, class and gender performance, focusing on the intersections of these categories of identity in the drag performance of Divine.
Rhyne
Ragan
R
Department of Cinema Studies, New York University, New York 10003, USA. rar227@nyu.edu
D004324:Drama; D005783:Gender Identity; D006801:Humans; D008297:Male; D011057:Politics; D011998:Recreation; D012923:Social Class; D014190:Transvestism; D044465:White People