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• 1 2019-04-07T20:57:41-07:00 Mainstream Drag: RuPaul's Drag Race, Anthropocentrism and Phallogocentrism 35 image_header 856995 2019-04-20T20:05:55-07:00

  
  Nowadays drag has become mainstream in North America thanks to the show RuPaul's drag race. However, even if the show challenges gender binaries it is only showcasing drag queens, and most of them are portrayed by cis-gendered. Various polemics around RuPaul's point of view about drag were raised especially when he started making transphobic comments about how bodily transformations would prevent a transgender woman from performing on his show. Moreover "his opinion that “Drag loses its sense of danger and its sense of irony once it’s not men doing it, because at its core it’s a social statement and a big f-you to male-dominated culture. So for men to do it, it’s really punk rock, because it’s a real rejection of masculinity.” and ended up dismissing all that trans women, trans men, cis women, and have contributed to the complex, beautifully weird world of drag. Saying that drag should be only performed by men because it is 'a big f-you to male-dominated culture' doesn't make any sense to me, are men the only one who are supposed to be able to answer to men? Even if cis-gendered male drag queens have helped the gay community critique masculinity and accept their queerness, are they the only ones allowed to critique this? Doesn't it make our culture even more male-dominated? Women should be able to criticize this culture through the same means as men are without being excluded, moreover they can criticize through the same lens the expected femininity.
  
  Drag Race is a challenge to phallogocentrism because it is a challenge to the taboo of feminine men by challenging binaries: "RPDR the body is of outmost importance but it is not opposed to reason. In the show body and experience are capital but language and reason are also essential for achieving social agreements about the significance of experiences taking place at other levels. Its potential goes far beyond undoing gender categories, as it might help to substitute a whole system of thought by a far more complex worldview."  
  
  
  

  However, RuPaul's drag race is still conforming to a lot to gender binaries; the fact that people performing their own gender is often criticize puts some barriers on how defying drag is towards gender binaries because it would mean that the you are able to be a drag performer only if you perform the opposite gender (which means that genders would be opposite and includes generally that there are two). That is an extension of putting gender in binaries and boxes. Even though it challenges some points of view as the one of the nuclear family It can be said that drag is inherently anthropocentric nowadays, because it still doesn't consider non-humans as performing drag. Furthermore, mainstream drag hasn't even really accepted drag kings or simply drag queens that are non-gendered conforming, women or non cisgenderd men. I would like to try and break this image of drag that we have nowadays by presenting how objects and new technologies, should be considered as performing drag , but also how actual human drag redefines some notions as the notion of family or the self. 

• 1 2019-04-07T23:28:31-07:00 Human Drag: Performances that challenge of Gender, Family and Realness 26 plain 2019-04-20T20:08:46-07:00 Drag as I would like to use it during my project is a certain performance of gender that is used to criticize the current world dynamic. It is a form of art , that often uses a certain form of stereotypical performance, nowadays more known as a performance of gender. I think it breaches the barriers that we have put over gender and the construct around it: 

  "gender is in no way a stable identity or locus of agency from which various acts proceede; rather, it is an identity tenuouslyconstituted in time-an identity instituted through a stylizedrepetitionofacts. Further,gender is instituted through the stylization of the body and, hence, must be under-stood as the mundane way in which bodily gestures, movements, and enactments of various kinds constitute the illusion of an abiding gendered self." (519)

  
  If a repetition self-styling acts are to define drag personas certainly plays with that going back and forth between the on-stage performance and their life in which they are usually another person, blurring the lines of gender, or using the performance to criticize the current status quo of what someone of a certain gender should be like. Butler considers gender as a "corporeal style [...] which is both intentional and performative" (521). She distinguishes being a female and a woman. The former would have no meaning as it only refers to sex and the ladder would include a sense of becoming. She has a particular vision of the body and sees as something that is gendered by the will and the surroundings of the 'owner' of the body. Would drag be an art form, then, by being an act of gender if everyone performs their gender and that every act is not individual but collective in some way:

  "gender is an act which has been rehearsed, much as a script survives the particular actors who make use of it, but which requires individual actors in order to be actualized and reproduced as reality once again. The complex components that go into an act must be distinguished in order to understand the kind of acting in concert and acting in accord which acting one's gender invariably is." (526)

  
  Is drag performance useless then? If everyone is acting? I don't think so because according to me drag 'mocks' in a certain way these gender performances that are imposed unto us by society, our family, our experiences and try to challenge the rules that are input on gender performance. A very interesting point that Butler makes is that drag is accepted in certain kinds of ways only, during a show or when people expect to see it whereas it is more criticized in public:
  
  
   

  "theatrical performances can meet with political censorship and scathing criticism, gender performances in non-theatrical contexts are governed by more clearly punitive and regulatory social conventions. Indeed, the sight of a transvestite onstage can compel pleasure and applause while the sight of the same transvestite on the seat next to us on the bus can compel fear, rage, even violence. [...] In the theatre, one can say, 'this is just an act,' and de-realize the act, make acting into something quite distinct from what is real. Because of this distinction, one can maintain one's sense of reality in the face of this temporary challenge to our existing ontological assumptions about gender arrangements; the various conventions which announce that 'this is only a play' allows strict lines to be drawn between the performance and life." (527)

  
  
  This goes to show that other challenging gender binaries, transvestism (which is a part of drag, but I want to make sure I distinguish it because I don't want to reduce the art of drag to transvestism) also "challenges [...] the distinction between appearance and reality" (527). Indeed if gender is nothing but a performance it is real only as any performance is. Is gender false as a performance then? Maybe not because it is so inherent to our societies that even if gender is completely a construct, the reactions that we get from our surroundings make it very real and something that you need to apply to: "Performing one's gender wrong initiates a set of punishments both obvious and indirect, and performing it well provides the reassurance that there is an essentialism of gender identity after all." (528).
  
  
  
  Challenging the hierarchy and the status quo is always something dangerous in a society because it usually is responded to by punishments. I think drag is about not being scared of these punishments and even denouncing them, making them heard through art that uses your body. I think this challenging of realness is really important to the rest of my project because challenging reality is a good way to face oppression: "Realness category allows poor, gay, often black or latino men to untangle for a moment the economic and social forms of oppression that stand between them and the so-called 'real world.'" (6) To perform sometimes certain kinds of Realness makes rejected people be part of a world that doesn't accept them by performing people that are integrated and that have a 'good' place in society. That is something that can be found in cosplay too even more than in drag, an intersection of identities: "Cosplay demonstrates that these signs, while all relating to aspects of identity, are not just signs of gender but also race (being Japanese) and reality (being unreal). In this way cosplay extends the possibilities for drag beyond gendered roles of kings and queens, to playing at being Japanese and playing at being unreal." (4)
  
  
  
  Human Drag challenges more than only gender norms and realness, I think it challenges other components of our Western society, the concept of the nuclear family because they create new bonds, new relationships and use the terms for family to reconstruct a sense of family. This is something that is used, I think, mainly because in the LGBTQ+ community people are often rejected from their family because they are different from their kin's expectations. Indeed, heteronormativity in families is still something that is really present, because that is what is expected first. Sometimes when you comet to your kin, it doesn't happen well, they don't accept you and they don't want you to be too "queer" around them if they still tolerate you, a need to create a new family emerges: "Additionally, creating social bonds is often declared an important goal in the program, with RuPaul considering all participants their “children”. As Asia O’hara describes in season 10, “You are creating family outside your blood family”. Lastly I would say that drag gives power to the ones who perform it over how they want to express themselves which is not something that is given a lot out of a performance.