Jara 1kassandra Jaraprofessor Rileywgst 370 1 Lec 258516 February 20 ✓ Solved

Jara 1 Kassandra Jara Professor Riley WGST 370-1 LEC ( February 2021 Annotated Bibliography: References Art Matters Inc. (1990). Paris is burning. Netflix. United States. netflix.com. Paris is Burning is a documentary that dives into the history of drag, vogue, and the overall history of ball culture.

The documentary gives good insight on the topic, providing imagery of the past and what goes on during balls and performances. It explains the significance it has on the LGBTQ+ community and the safe haven it creates. Bracia, L. D. (2017, August 30). CULTURAL APPROPRIATION AND DRAG.

INDIE Magazine. This article focuses on what cultural appropriation and appreciation means to people, and whether people that participate in drag should get a pass of whether they are appropriating one’s culture. What’s unique about this article is that the author goes around asking people in NYC that are a part of the LGBTQ+ community and getting their opinion on the matter. The article provides opinions from both sides of the arguments. Gallineaux, P. (2018, December 7).

Ballroom Realness: a Ball Culture Interview with Kiki Scene Star Mother Eve Unbothered Cartier. Gloss Magazine. ki-scene-star-mother-eve-unbothered-cartier/. Jara 2 This article by Gallineaux takes the time to interview with Mother Eve UnbotheredCartier, who is a part of the recently released show POSE. The show focuses on underground ball culture, and during the interview Mother Eve answers questions that people may have about underground ball culture and its impact on transgender lives and the rest of the LGBTQ+ community. Mother Eve discusses how she became involved in underground ball culture and what she has experienced.

Hisayasu, L. (2013, July 16). "'Listen, and You Will Hear all the Houses that Walked There Before': A History of Drag Balls, Houses and the Culture of Voguing". London: Soul Jazz, 2011. tim lawrence. ses-that-walked-there-before-a-history-of-drag-balls-houses-and-the-culture-of-vogui ng. This article goes into further detail about the history of drag, ball culture and vogue. It brings you back in time of when ball culture first began to flourish in New York, what people that were part of the LGBTQ+ community were experiencing around that time, the climate of that decade, and further explains the lingo that is used in ball culture to get a better understanding.

It educates those who do not know much about underground ball culture. Lison, S. (2015, April 10). Appropriation (?) of the Month: Drag Queens and Femininity. Intellectual Property Issues in Cultural Heritage. The article by Lison focuses on the argument of whether drag and ball culture can be culture appropriation.

It discusses the complexity of drag and how much of a fine line Jara 3 there is between appropriation and appreciation, providing examples of such issues such as Madonna and her music video for Vogue. It talks about the influences ball culture and drag may have on mainstream media, and the issues that rise with it. Meyers, S. (2019, August 16). Mj Rodriguez Explains Underground Ballroom Culture. Youtube.

This video is an interview of MJ Rodriguez, a star from the show POSE. She talks about her experience on the show and her understanding about ball culture. She also discusses her experience as a housemother on the show, and her experience in participating in balls and being part of a house herself. This interview gives insight from first perspective of ball culture. Murphy, M., & White, P. (2019, July 2).

Why has drag escaped critique from feminists and the LGBTQ community? Feminist Current. minists-and-the-lgbtq-community/. This article by Murphy talks about how drag has become very popular in mainstream media. It discusses how in drag, for performances women usually do their makeup that people would consider to be black-face or yellow-face and talks about other critiques that are usually given a pass. It ponders the question whether it is culture appropriation and/or racist.

Murray, R. (2019, January 4). Ballroom Culture: the Language of Vogue | Ronald Murray | TEDxColumbus. Youtube. This Ted Talk by Murphy discusses underground ball culture, and how it has influenced mainstream pop and the media. It discusses how mainstream shows and Jara 4 music has paid homage and appreciation for those that began ball culture.

He talks, from his experience, the history of underground ball culture, and the language of vogue that was created. Shepherd, J. E. (2015, January 13). Nah, Rihanna: A History of 'Vogue' Exploiting Queer People of Color. Culture.

The article touches on the history of vogue and ball culture and provides a different angle in the argument about whether or not mainstream media and pop today is exploiting queer people of color or if it is more of appreciation than appropriation. It demonstrates examples of the issue and includes explanations as to how the media may be exploiting the LGBTQ+ community, particularly people of color. Speta, T. Bitch, I’m From New York!: Race and Class within Contemporary Drag Culture. Sarah Lawrence College .

This is an academic paper that was written by faculty in Sarah Lawrence College which provides a first perspective of someone that participates in drag and ball culture in NYC within the LGBTQ+ community. It is a paper that interviews someone who participates in drag and gives insight on their experience with drag and how it may have impacted their life. It also talks about issues with race and class within drag culture. Jara 1 Kassandra Jara Professor Riley WGST 370-1 LEC ( April 2021 Is Drag Culture Appropriation or Appreciation? A lot of our class discussion has centred around the idea of expression, particularly as it relates to gender.

Expression, since the dawn of time, as presented itself in musicals, plays, movies, songs, and more. For the sake of this paper I am going to choose a specific medium of expression that is drag. Drag is a “symbolic representa-tives of the cultural ideals associated with the feminine and women and how they have changed over time†(Underwood). We have all become familiar with drag as we watch Ru Paul’s Drag Race and many other shows created during the late 2000’s as a means of progressive change and education on the LGBTQ+ movement and expression of identity. However, in this paper I will also be showcasing the ways in which even drag itself is or is not saved from the conflict of appropriation.

This discussion is aimed to provoke thought and answer one of many questions posed by my paper: is the multiverse of drag guilty of appropriation or is society simply too “sensitiveâ€? Drag race, vogue, and ball culture are all various ways to express one’s true self and are all performance, but they all differentiate as well. Since we are focusing on drag and ball culture, I will be elaborating on the two and the history of both. Drag race is an art form and has been going on for as long as we can remember. “Drag is distinguished from cross-dressing because drag is purposefully done as a performance, and the manner of dress exaggerates the gender expression†(Haefele-Thomas).

It first began in the theatres during the early 1900s, when men were the only ones that were allowed on stage. Sometimes men would have to fill in female roles Jara 2 by wearing clothing that was “meant for women.†You may consider this cross-dressing but drag is a more deeper and complex Discuss what drag is in more detail. Also introduce the meaning of appropriation and what, exactly is being appropriated by drag and from whom. Add specific figures and historical context. The best sources to use here would be the essay written by Speta and Shepherd as these sources discuss both historical upbringing of drag and its impact on the world as well as individuals.

Paragraph 2: A continuation of drag culture if necessary. Also include context about ballroom culture if not used in the previous paragraph. Explain the conflict caused by appropriation and how it has affected the appropriated party/culture. The sources by Murray, Hisayasu, and Meyers might be most useful here as it delves deeper in ballroom culture and what it has inspired or innovated. Paragraph 3: Use sources by Murphy and Gallineaux to explain the way in which media may interpret drag and ballroom culture.

What does it say about the LGBT+ (mainly trans and gender non conforming) groups? Has this helped or harmed them in the eyes of society? Paragraph 4: Jara 3 A good time to introduce the Lison source since it discusses Madonna and music videos and conveniently would follow the paragraph about media representation. It’d be good include other sources as well and maybe even other artist that may consciously or unconsciously appropriate said culture as cisgender and/or heterosexual individuals (may be good to add anecdotes or personal opinions). Paragraph 5: I think this would be a good paragraph to discuss the more personal aspects of joining things like drag and ballroom.

Explain why people may participate in these things and reiterate certain sources like Speta. Paragraph 6 or conclusion?: Reiterate certain points and then state personal opinion or anecdotes.

Paper for above instructions

Is Drag Culture Appropriation or Appreciation?
In recent years, drag culture has surged to new heights of visibility, particularly through platforms like "RuPaul's Drag Race." The vibrant realm of drag encompasses performances often characterized by exaggerated gender expressions, offering both entertainment and a poignant commentary on gender dynamics and identity (Haefele-Thomas, 2016). However, an ongoing debate questions whether drag constitutes an act of cultural appropriation or a rightful appreciation of diverse expressions. In this analysis, I will explore the intricacies of drag culture, examining its historical context, key elements of appropriation and appreciation, and its implications on the LGBTQ+ community.
The Essence of Drag Culture and Appropriation
Drag, defined as a performance where individuals explore and exaggerate gender characteristics, has roots that stretch back centuries. This art form emerged in the early 1900s, largely within the realms of theater where male actors donned female attire due to gender restrictions in performance (Underwood, 2020). Unlike cross-dressing, drag is performed purposefully; it is a celebration of femininity that negotiates cultural expectations and roles associated with gender (Haefele-Thomas, 2016). Drag offers a space for performers to critique societal norms while embracing various forms of gender expression.
To understand appropriation in drag culture, we must explore what is appropriated and from whom. Appropriation refers to the act of taking elements from one culture, often without understanding or respecting the context in which they originated, typically for the benefit of another, more privileged group (Bracia, 2017). Drag, while rooted in performance and identity expression, often overlaps with cultural practices of marginalized communities, raising questions about who gets to perform and profit from these expressions and narratives (Speta, 2021). The historical context of drag as an expression of LGBTQ+ identities emphasizes the importance of recognizing the origins and significance of these cultural practices, particularly when performed by those outside the original community.
Ballroom Culture and the Conflict of Appropriation
Ballroom culture, significantly influenced by LGBTQ+ individuals, particularly people of color, has its own rich history and set of traditions. Originating in the Harlem ballroom scene of the 1920s and flourishing in the 1980s, this subculture fostered a sense of community and belonging for individuals who faced discrimination (Hisayasu, 2013). Ball culture revolves around competitions, where "houses" or teams showcase their talents in an array of categories, including vogueing, a dance style characterized by angular poses (Murray, 2019). Both drag and ballroom culture present art forms full of personal expression while serving as formidable acts of resistance against societal norms.
However, conflicts arise when appropriation overshadowing appreciation leads to commodification. Mainstream media and artists often incorporate elements from drag and ballroom culture without recognizing their origins (Shepherd, 2015). The representation of drag in pop culture tends to dilute its significance, stripping it of its historical context and contributions from marginalized communities. This commodification can lead to a sense of disconnection among the original creators and the culture from which these art forms derive, resulting in feelings of erasure and exploitation (Meyers, 2019).
Media Representation and Its Impacts
The portrayal of drag and ballroom culture in mainstream media has considerable ramifications for the LGBTQ+ community, particularly for transgender individuals and those who identify as non-binary. Murphy and White (2019) highlight that while drag has gained significant visibility in the media, it often lacks critical engagement with the cultural and racial dynamics at play. The glamorous, often hyper-feminine portrayal of drag queens can perpetuate harmful stereotypes about women and gender nonconforming individuals. The lack of critique surrounding these representations challenges the narratives of authenticity and erasure faced by many in the LGBTQ+ community.
Furthermore, Lison (2015) explores the impact of mainstream artists, such as Madonna, who have drawn inspiration from ball culture, yet failed to address the complexities of appropriation. While such incorporation can serve as appreciation, it risks commodifying the culture and reaping financial benefits without acknowledging the origins of these cultural elements. Thus, the line between appreciation and appropriation is intricate and requires ongoing discussion and awareness, highlighting the importance of authenticity in artistic representation.
Personal Experiences and The Appeal of Drag Culture
Individuals drawn to drag and ballroom culture often seek escapism, a sense of belonging, and an opportunity for self-expression. Participants, as described in Speta’s work (2021), frequently share how drag fosters community bonds that emphasize authenticity and personal freedom. The opportunity to engage in such spaces allows for personal exploration of gender identity, offering a sanctuary where nuances in gender system can be celebrated.
This drive for self-exploration is a foundational aspect of drag culture, as it invites individuals to engage with facets of their identity they may otherwise grapple with in their daily lives. By embracing performance, many members of the LGBTQ+ community find both escape and empowerment within drag, fostering creativity and resilience in the face of societal constraints.
Conclusion: The Path Forward in Understanding Drag Culture
As we reflect on the nuances of drag culture, it is crucial to acknowledge the complexities surrounding imitation and authenticity. While the avenues for appreciation exist, it is essential to prioritize recognition and respect for the origins of these forms of expression. Both drag and ballroom culture emerged from the barriers faced by marginalized communities, and their appropriation by mainstream culture necessitates a critical examination of the impacts on those communities. Ultimately, the continued dialogue around appropriation versus appreciation plays a vital role in fostering societal understanding and ensuring the integrity of these expressions remains intact for generations to come.
References
1. Art Matters Inc. (1990). Paris is Burning. Netflix. Retrieved from https://www.netflix.com
2. Bracia, L. D. (2017, August 30). Cultural appropriation and drag. Indie Magazine.
3. Gallineaux, P. (2018, December 7). Ballroom realness: A ball culture interview with Kiki scene star Mother Eve Unbothered Cartier. Gloss Magazine. Retrieved from https://www.glossmagazine.com
4. Hisayasu, L. (2013, July 16). “‘Listen, and You Will Hear all the Houses that Walked There Before’: A History of Drag Balls, Houses and the Culture of Voguing.” London: Soul Jazz.
5. Lison, S. (2015, April 10). Appropriation (?) of the Month: Drag Queens and Femininity. Intellectual Property Issues in Cultural Heritage.
6. Meyers, S. (2019, August 16). MJ Rodriguez explains underground ballroom culture. [YouTube].
7. Murphy, M., & White, P. (2019, July 2). Why has drag escaped critique from feminists and the LGBTQ+ community? Feminist Current.
8. Murray, R. (2019, January 4). Ballroom culture: The language of vogue. TEDxColumbus. [YouTube].
9. Shepherd, J. E. (2015, January 13). Nah, Rihanna: A History of 'Vogue' Exploiting Queer People of Color. Culture.
10. Speta, T. (2021). Bitch, I’m from New York!: Race and class within contemporary drag culture. Sarah Lawrence College.