scholarly journals Heteronormatividade e ideologia dominante: a recusa da música "parabéns" da cantora Pablo Vittar

2021 ◽  
Vol 2 (16) ◽  
pp. 143-154
Author(s):  
Camila Franz Marquez ◽  
Luciana Iost Vinhas
Keyword(s):  
Drag Queen

Com base na perspectiva teórica da Análise de Discurso Pêcheuxtiana, o artigo tem o objetivo de refletir sobre a determinação ideológica no imaginário sobre identidade de gênero em conversa ocorrida entre locutor de rádio e ouvintes. O corpus é composto de dois prints da plataforma com mensagens instantâneas de Whatsapp. Os prints foram retirados da rede social Twitter. Nas conversas, a Rádio Super FM 89.1 recusa-se a tocar a música “Parabéns”, da cantora Pabllo Vittar, com o argumento de que não irá tocá-la por não saber a identidade de gênero da Drag Queen. Sabemos que a ideologia se materializa na linguagem; sendo assim, os sentidos atribuídos não são característicos da língua e sim da forma como o sujeito se relaciona com a ideologia, ou seja, o processo de produção de sentido varia de acordo com a identificação do sujeito com determinada formação discursiva. Conforme Orlandi (2010, p. 44), “os sentidos não estão assim predeterminados por propriedades da língua. Dependem de relações constituídas nas/pelas formações discursivas”.

Cyborg Jotería Pedagogies: Latinx Drag Queens Leveraging Communication Ecologies in the Age of the Digital and Social Displacement

2020 ◽  
Vol 14 (2) ◽  
pp. 44-66
Author(s):  
José Ramón Lizárraga ◽  
Arturo Cortez
Keyword(s):  
San Francisco ◽  
San Francisco Bay ◽  
San Francisco Bay Area ◽  
Digital Technologies ◽  
Physical World ◽  
Political Issues ◽  
Drag Queen ◽  
Bay Area ◽  
Online Presence ◽  
Drag Queens

Researchers and practitioners have much to learn from drag queens, specifically Latinx queens, as they leverage everyday queerness and brownness in ways that contribute to pedagogy locally and globally, individually and collectively. Drawing on previous work examining the digital queer gestures of drag queen educators (Lizárraga & Cortez, 2019), this essay explores how non-dominant people that exist and fluctuate in the in-between of boundaries of gender, race, sexuality, the physical, and the virtual provide pedagogical overtures for imagining and organizing for new possible futures that are equitable and just. Further animated by Donna Haraway’s (2006) influential feminist post-humanist work, we interrogate how Latinx drag queens as cyborgs use digital technologies to enhance their craft and engage in powerful pedagogical moves. This essay draws from robust analyses of the digital presence of and interviews with two Latinx drag queens in the San Francisco Bay Area, as well as the online presence of a Xicanx doggie drag queen named RuPawl. Our participants actively drew on their liminality to provoke and mobilize communities around socio-political issues. In this regard, we see them engaging in transformative public cyborg jotería pedagogies that are made visible and historicized in the digital and physical world.

Color Reproduction with Drag Queen and Makeup PROTECTION

2021 ◽  
Vol 6 (1) ◽  
pp. 33-40
Author(s):  
Jiyeon Yeom ◽  
Jungsoon Choi ◽  
Jeongwoo Lee
Keyword(s):  
Color Reproduction ◽  
Drag Queen

scholarly journals IDENTIFYING AS A DRAG QUEEN AND THE MEANING OF WORK

2018 ◽  
Vol 19 (spe) ◽  
Author(s):  
THAÍS Z. G. DE OLIVEIRA ◽  
LUDMILA DE V. M. GUIMARÃES ◽  
MARIANA DE L. CAEIRO ◽  
ADMARDO B. GOMES JÚNIOR
Keyword(s):  
Life Story ◽  
Social Recognition ◽  
Social Dimension ◽  
Meaning Of Work ◽  
Drag Queen ◽  
Analysis Strategy ◽  
History Of ◽  
Belo Horizonte ◽  
The Look ◽  
Identification Processes

ABSTRACT Purpose: This study examines the identification processes that marked the life of a subject and their possible relations with the meaning of work as a drag queen. Originality/value: This study stands out in its use of a theoretical psychoanalytic framework to analyze the life history of a professional drag queen, aiming to shed light on the senses of work from singular aspects of the worker. Research on this subject in the field of administration is usually conducted within a functionalist paradigm. Design/methodology/approach: We examined the life story of a drag queen from Belo Horizonte, Minas Gerais. The choice to use “life story” as a data collection and analysis strategy allowed us to illuminate how the subject lives and articulates his story and the choice of work that allows an expression of his desire. Findings: Some points combine the subject’s identity traits with his work as a drag artist; the look and clothes are elements that sustain a fantasy that has found a place in society. One of the elements that gives meaning to the work is the link of some singular identity traits with the social dimension of work and the affections that sustain a form of social recognition.

scholarly journals A PERFORMANCE DRAG QUEEN E SUAS REVERBERAÇÕES

Linha Mestra ◽  
2021 ◽  
pp. 278-282
Author(s):  
Matheus Flauzino Oliari ◽  
Jesio Zamboni
Keyword(s):  
Drag Queen ◽  
A Performance

A PERFORMANCE DRAG QUEEN E SUAS REVERBERAÇÕES

scholarly journals Et Tu Ru? Entrepreneurship and the Commodification of Drag in RuPaul’s Drag Race

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Jonathan Buck
Keyword(s):  
Popular Culture ◽  
Reality Tv ◽  
Diverse Range ◽  
Drag Queen ◽  
The Face ◽  
Value Changes ◽  
Historical Moment ◽  
Tv Show ◽  
International Success ◽  
Selection Of

Historically, drag is a taboo which has been marginalized in the face of centuries of repression against non-heteronormative activity. Yet today drag has become highly visible in popular culture, and this is in large part attributable to the international success of American reality TV show RuPaul’s Drag Race (2009-present). Its bold representation of drag on a mainstream television show is unprecedented and the selection of drag queen competitors by the show’s producers has demonstrated a plethora of representations as Drag Race showcases a diverse range of identifications from the world of drag performance. The blossoming of Drag Race’s success comes at a historical moment in which we are seeing a huge proliferation of queer representations (re)produced in US television and other media over the last decade. However, as I will argue, the apparent liberalization of drag queens in popular culture is not simply a celebration of so-called ‘progress’ in the recognition of the marginalized, but may also be prompting the promotion of other value changes within late capitalism’s ideals of consumerism and entrepreneurship. Contestants are increasingly pressured to construct their drag performances to conform to a recognizable brand to reach the heights of their own private ‘success’. Mainstreamed depictions of queer subjects are susceptible to co-option, particularly in televisual forms such as Drag Race which prospers by channelling the emancipatory and subversive desires of the subculture. Through trans-textual considerations and historical contextualizations, I show how the representation of drag in Drag Race is depoliticized through neoliberal discourse as the show’s continual demand for competitors to ‘work it’ privileges and maintains the impetus for competitive profitmaking above the needs and demands of disempowered groups.

History in Drag

2017 ◽  
Author(s):  
Ramón H. Rivera-Servera
Keyword(s):  
Upper Body ◽  
Cultural Consumption ◽  
Drag Queen ◽  
Musical Taste

This chapter examines the performances of Miss Ketty Teanga, a Chicago-based trans-Latina drag queen, and argues they were an example of Latina/o queer worldmaking. Miss Ketty’s performances evoked history through her fashion, hair, makeup, and musical taste in order to present alternative patterns of cultural consumption to her young fans. In contrast to mainstream drag culture and popular media’s pop-oriented, fast-paced choreography, her performances evoked a queer past by drawing on slow, dramatic presentations of boleros that emphasized upper-body choreography.

Aloha in Drag

2018 ◽  
pp. 81-112
Author(s):  
Stephanie Nohelani Teves
Keyword(s):  
Sense Of Place ◽  
Kanaka Maoli ◽  
Drag Queen ◽  
And Performance ◽  
Cultural Belonging ◽  
A Performance ◽  
Performance Strategies

“Aloha in Drag” investigates how Hawaiianness and aloha can be performed and felt in spaces where Hawaiianness is not obviously being performed or “confessed.” Looking at the performance strategies of Cocoa Chandelier, a well-known Hawaiian drag queen and performance artist working in Honolulu. Chandelier’s performances speak to a frequently marginalized Kānaka Maoli LGBT and local/settler LGBT population in Hawaiʻi, cultivating a shared sense of place and cultural belonging. These spaces allow the performance of aloha in drag, a performance of Hawaiianness that is unidentifiable to non-Hawaiian audiences, but can be deployed as a strategy to resist the ongoing subjection and hyper-commodification of Hawaiian indigeneity.

scholarly journals Values, risks, and power influencing librarians' decisions to host drag queen storytime

2020 ◽  
Vol 57 (1) ◽  
Author(s):  
Diana Floegel ◽  
Sarah Barriage ◽  
Vanessa Kitzie ◽  
Shannon Oltmann
Keyword(s):  
Drag Queen
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