Kalinoski 1

Cati Kalinoski

Feminism, Gender, and Sexuality in Performance

Alisa Sniderman

28 February 2017

The Trap Of Marriage and On Camp as a Queer Liberation Strategy

Would you hold it against me if I couldnt stand for this? Jack Smith1

New Perspectives: Introduction

Queer identities have come under attack, as many marginalized voices have, in these early

weeks of the Trump presidency. With the looming threat of a vice-president who is known for his

discriminatory marriage ideals and xenophobic practices, the recent roll-back of the transgender

bathroom laws allowing anyone to use a bathroom that matches their gender identity, and a general

lack of respect for people who identify as non-male from our commander in chief: we have a right

to be scared. The Womens March had a strong initial showing of support including great strides and

highlighted major issues within the intersections of gender and queerness. These acts of protest are

necessary, as Gessen writes, to take control of ones body, ones time, and ones words, and in

doing so to reclaim the ability to see a future2 which is an effective, but dangerously powerful tool

to utilize in a national era of shifting politics and culture. In the march, marriage and a heterosexual

and male-identified conception of love and acceptance was emphasized as mothers, daughters,

wives, and sisters marched3. The compulsive heterosexuality is not only present but dominant,

1
Smith, Jack. "Statements, Ravings and Epigrams." Queer: Documents of Contemporary Art. Ed. David
Getsy. London, Cambridge: Whitechapel Gallery, The MIT, 2016. 29-31. Print.
2
Gessen, Masha. Why we must Protest. Literary Hub, November 21 2016, 2016
3
I speak mainly from my own experience here, but would encourage analysis on the content of such
speeches which are available on youtube.com.
 Kalinoski 2

and the march is a good benchmark to gauge where we exist in history. The LGBTQ+ community is

strong, but will have to band together and find new ways of world building4 in order to survive the

next four years and beyond, which include banding together with our feminist counterparts. We

must use the momentum of the march and other movements that are developing in the wake of

crisis and take space in the social that has been colonized by the logics of white normativity and

heteronormativity5 as an addition and compliment to the work that is currently being done.

In this paper I will articulate the history and use of marriage as a pitfall for the queer identity

in society and how we must look deeper into the issue and find new routes of critique, strategy, and

liberation. In doing so, we will come to a juncture in heterosexual gendered conceptions of

queerness and how those social forms articulate and determine the queer identity in media and

culture through films such as Blue is the Warmest Color, Show Me Love, and Tricias Wedding. Then, we

will examine how to break these forms and liberate the queer identity through new and radical

modes of such queerness. I will be looking at the question of what effective strategies and steps can

be taken in a world of compulsory heterosexuality, and how historical attempts at liberation like

camp can contribute to our learning. Particular attention will be paid to how historical strategies

were co-opted and what methods we can use to avoid or adapt to the ever-shifting power dynamics

in the world.

Before I start, I would like to clarify terms and usage of terms. Queer in this essay will

refer to the academic writing of and contemporary usage of the term in lived experience. This term

comes out of a movement to reclaim a slur that is now widely accepted by academics and the

4
I use the term world building as a mode of thinking and creating environments in which we, as a
margined group, do belong so as to combat and temper the dangerous worlds we live in now. This is
taken from reading on Jos Estabon Muoz in both his books Disidentifications and Cruising Utopia.
5
Muoz, Jos Esteban. "Preface: Jack's Punger." Disidentifications: Queers of Color and the Performance of
Politics. Vol. 2. Minneapolis, London: U of Minnesota, 1999. Ix-Xiv.
 Kalinoski 3

emerging generations non-sexually conforming youth. It lives outside of the categorical world of

present that seeks to confine and limit those with aberrant sexualities through strict identity politics,

and the term queer is less an identity than a critique of identity.6 Most accurately, I take Sedgwicks

words as foundational in this essay: Queer to me refers to a politics that values the ways in which

meanings and institutions can be at loose ends with each other, crossing all kinds of boundaries

rather than reinforcing them.7 LGBTQIA+ will be used as a term of power that is accepted by the

current areas of control. In the previous administration, we have seen the influx of new legislation

for the LGBTQIA+ community and protections8, yet these inclusions have been superficial, as will

be discussed in a later section of this essay, and simply give the illusion of power. LGBTQIA+ has

come to mean those who dont see themselves as weird or abnormal even though they are

attracted to people of the same gender or a gender-nonconforming individual; to them, the term

queer implies and has been used derogatively to mean in the past. The term queer accepts this

challenge of strangeness, embraces it, and decides that normal isnt a world in which they wish to

live in, which will be a reoccurring look at what queer is and can be in this essay. Queer then

becomes a recognition that the fear of the un-normal is also a source of power.9 Some would

argue that queer and LGBTQIA+ are the same, it simply semantics that separates them. I echo the

sentiment of the work of Monique Wittig in The Straight Mind in her statement that Lesbians are

not women,10 in that semantics not only matter, but are everything to developing identity and

6
Jagose, Annamarie, ed. Queer Theory. Melbourne: University of Melbourne Press, 1996.
7
Sedgwick, Eve Kosofsky. "Thinking Through Queer Theory." Ochanomizu University Web Library-
Institutional Repository (2001): 1-11. Ochanomizu University.
8
Terkels article on Huffington Post "Obama Leaves A Monumental Legacy on LGBTQ Rights is
a succinct article about what Obama has done and what could change under a Trump
administration.
9
Getsy, David. "Introduction: Queer Intolerability and Its Attachments." Queer: Documents of
Contemporary Art. Ed. David Getsy. London, Cambridge: Whitechapel Gallery, The MIT, 2016. 15.
10
Wittig, Monique. The Straight Mind. The Straight Mind and Other Essays. Boston: Beacon Press,
1992. 32.
 Kalinoski 4

reality. In addition, in this essay the use of LGBT as a term in will only be used in reference to

terms used in the works cited, and not preferred terminology as it is a limiting shorthand for a very

complex subject usually used in laziness and brevity.

Yet, queer is not static and in the words of Jos Estabon Muozs opening lines of Cruising

Utopia, Queerness is not yet here.11 I define queer in hope and expectation of change and moving

forward. It is about not accepting the present and finding a way into the systems of the present but

about the rejection of a here and now and an insistence on potentiality or concrete possibility for

another world.12 Muoz is an icon in the world of queer studies, and sets forth the most effective

and positive interpretation of existing in the world that will be sought after in this essay. Together,

we will attempt to get closer to queerness, to achieve an educated mode of desiring that allows us

to see and feel beyond the quagmire of the present.13 He sets up a Blochian approach to utopia:

one in which we address the potentiality and the not-yet-conscious14 in concrete methods moving

forward in hope, yet never lose the expectation of disappointment. Disappointment, to Bloch and

Muoz, is a reality that cannot be avoided and shouldnt be. Regardless of whether the measure

taken reaches its goal, the enacting of step to make a concrete utopia a reality is an indispensable to

the act of imaging transformation.15 In this formation of worlds, Muoz criticizes todays

hamstrung pragmatic gay agenda16 and says we must move beyond this in order to be radical, which

he defines as leaving the here and now. Queerness will continue to be evolving with every move

towards the future, and even in the face of co-option will be on the horizon. In this essay, we will

11
Muoz, Jos Esteban. Cruising Utopia: The Then and There of Queer Futurity. New York: NYU Press,
2009. 1.
12
Ibid 1.
13
Ibid 1.
14
Ibid 3.
15
Ibid 9.
16
Ibid 10.
 Kalinoski 5

create these worlds and in the process will be defining the term the essay is dealing with. In doing so,

we will be moving closer to the horizon. [T]he horizon is out there, and you can see it if you

squint.17

Marriage in the Modern World: Queer Marriage and Its Consequences

In 2015, the LGBTQ+ community obtained a major victory when became known as gay

marriage was passed through the Supreme Court,18 yet this victory distracted from larger social

issues within the queer community that have led to the co-option of the queer identity through the

assimilation into marriage culture.

It is no secret that those in power dont represent the people, and very rarely do they

represent the queer community. In Zoe Leonards famous I Want a Dyke for President she writes

I want to know why we started learning somewhere down the line that a president is always a

clown: always a john and never a hooker.19 The queer has always lived outside of the norm, they are

not normal (perhaps heteronormal is more appropriate). For most the question [was never]

raised, whether different context, or other things being equal, women would choose heterosexual

coupling and marriage; heterosexuality is presumed as a sexual preference20 and from here, we get

the coming out ritual that terrorized queer teens and adults alike. Rich goes on to explain that this

conception of marriage as between a cis-man and cis-female has been entrenched into our perceived

economic futures as well,21 making it nearly impossible for women to live on their own and for

17
Wortham, Jenna. When Everyone can be Queer, is Anyone? The New York Times, July 12, 2016,
2016. This is in direct reference to Muoz in an incredibly well-written article that highlights major
debates and serves as a good benchmark for queer history.
18
"Obergefell v. Hodges." S.Ct. 135, no. No. 14-556 (2015): 1732.
19
Leonard, Zoe. "I Want a Dyke for President." Queer: Documents of Contemporary Art. Ed. David
Getsy. London, Cambridge: Whitechapel Gallery, The MIT, 2016. 114. Print.
20
Rich, Adrienne. "Compulsory Heterosexuality and Lesbian Existence." Signs 5, no. 4 (1980): 633.
21
Ibid 641-642. She also clarifies that these determined economic futures manifest from pre-existing
sexist and homophobic tendencies which is an interesting comment on the origin of oppressive
structures and our own turn towards a neo-liberal society.
 Kalinoski 6

queer couples to be able to support themselves outside of a heterosexual relationship. This is

because those who make the rules are keeping the power away from those who do not have the

power.

Marriage, to those outside of power, then becomes an institution not only not made for

queer people but inherently harmful. Vaginal Davis proudly proclaims in her manifesto Bourgeois

marriage is nothing but licensed prostitution.22 Marriage was created as an economic justification to

subvert the sexism in women before queer and trans individuals were even remotely close to

punctuating the vocabulary of the modern societal individual. And, for queer individuals, you had to

be of certain economic background to be able to live outside of this norm. Additionally, this type of

relationship came with the social stigma that in certain cases could mean death23. In recent times, it

has become the thing for not only straight individuals but companies24 to be inclusive of queer

folks (beware: not doing so could result in losing your liberal card) without actually hearing what

they are asking for. Who ever said that marriage is what queer people were asking for? The passage

of gay marriage further muddies the waters in our nationally turbulent transitional political space.

Marriage is a classic great divider in queer vs. LGBTQIA+ theories and thought. To the

LGBTQIA+ camp, marriage is a step forward and way into a society that previously shunned them.

They feel accepted, normal; what they always wanted. Yet, the conservatives are still the defenders

of family values in marriage, which have historically excluded same-sex couplings let alone even give

22
Davis, Vaginal. "Twee and Sympathy: A Manifesto." Queer: Documents of Contemporary Art. Ed.
David Getsy. London, Cambridge: Whitechapel Gallery, The MIT, 2016. 222. Also, Engels speaks to
this in The Origin of the Family writing: civilization brings forth is double-edged, double-tongued,
divided against itself, contradictory: here monogamy, there hetaerism, with its most extreme form,
prostitution (35).
23
NEED CITE
24
Jenna Worthams article in the New York Times give a good example of the June gay pride
parades: companies like Netflix, McDonalds, Apple, Salesforce and Walmart spend
tremendous amounts of money to include their branded floats in the parades.
 Kalinoski 7

lip service to gender-nonconforming couplings. Sedgwick explains that the LGBTQIA+ conception

of politics that has become mainstream is both separatist in its labeling and assimilationist in its

proposals.25 In this way, the LGBTQIA+ community becomes complicit in their own harm by

buddying up with their own opposition. These individuals are asking to be (and achieving at being)

included in systems that are actively hurting them, and in that way separating themselves from

systems of support in their communities in dire times. It has been reported that hate crimes against

the LGBT community have risen.26

Many in the queer community have bemoaned these cries for inclusion from marriage to the

military. Queers are not looking to assimilate, simply to exist. Richard Fung writes a moving piece

about moving beyond the need be the same:

Beyond we are just like you, the you of television. Beyond stable identities. Beyond
LGBTQ. Beyond a civil rights agenda. Beyond marriage. Beyond the military. Beyond the
neoliberal consensus. Beyond our rights at the expense of theirs. Beyond corporatization.
Beyond pinkwashing. Beyond Pride. [] Beyond rote formulas. Beyond tokenism. Beyond
the people of colour version of Beyond the Third World version of Beyond waving the
flag of difference to defeat difference. Beyond stereotypes. Beyond positive images. Beyond
monoculture.27

Fung outlines a view of the world that is remorseful but hopeful, and a perfect example of Muozs

conception of world making as focused on concrete utopias as centered on futurity. Transcending

the present and finding a way to the future becomes necessary, and as Fung writes becoming the

same as the straight standing next to you is not the way to do it. He pleads that we reimagine people

and Muoz would argue that in doing so that we are reimagining worlds. Directly, Fung is

bemoaning the failed attempts through marriage and military inclusion, and we must oblige.

25
See Thinking Through Queer Theory 9.
26
Mykhyalyshyn, Iaryna and Haeyoun Park. "L.G.B.T. People are More Likely to be Targets of Hate
Crimes than any Other Minority Group." The New York Times, June 16 2016, 2016, sec. U.S.
27
Fung, Richard. "Beyond Domestication." In Queer: Documents of Contemporary Art, edited by David
Getsy. London: Cambridge: Whitechapel Gallery, 2016. 225.
 Kalinoski 8

Camping in Dangerous Territory: Examining Camp Liberation Strategies

One early use of world building strategies was through the use of camp culture. As

Matthew J. Jones writes to define camp is the least campy thing in the world.28 Alas, for the sake

of delineating and critiquing strategies for resistance, we must. This nave,29 extravagant,30 amoral,31

and dandy32 concept is one that exists outside of culture and in itself. It a form of culture that

defines itself as separate, but intimately interrogates the world that created the need for it. It is not

consciously self-aware, but retrospectively informative. It is, in short, well-meaning bad art. This new

sensibility33 gave way to a new mode of communication and expression for the gay community that

is outside of popular culture but can be an effective method of articulating these concepts.

Camp is known as gay performance, but it is more specifically an extension of the

performance of a queer individual goes through every day as an existence of resistance. Performance

is a precarious term to use, as it implies that we are performing everyday which has been a topic of

question in the field of performance studies. In defining performance, Erving Goffman writes

that A performance may be defined as all the activity of a given participant on a given occasion

which serves to influence in anyway of the other participants.34 When looked at in this way, as is

28
Jones, Matthew J. Enough of being Basely Tearful: Glitter and be Gay and the Camp Politics of
Queer Resistance. Journal of the Society for American Music 10, no. 4 (2016): 422.
29
Sontag, Susan. "Notes on camp." Camp: Queer Aesthetics and the Performing Subject: A Reader (1964):
58.
30
Ibid 59.
31
Ibid see note 34 on page 61.
32
Ibid see note 45, 46, and 48 on pages 62-63. This word is also a common historical euphemism for
the term queer, so in merely the definition we can draw the connection between the queer style and
life and the use of camp. A commonly cited and etymological perspective on dandyism I would
recommend Chapter 1 of Stan Hawkinss The British Pop Dandy (Hawkins, Stan. The British pop dandy:
masculinity, popular music and culture. Ashgate Publishing, Ltd., 2009. 15-36).
33
I am borrowing this words from Joness Enough of being Basely Tearful referred to in
footnote 4.
34
Goffman, Erving. The Presentation of Self in Everyday Life. New York City: Random House, 1996.
 Kalinoski 9

the norm of most cultural studies35, performance defines space, interactions, and history in a unique

way. Muoz describes the turn to aesthetics in queer history as nothing like an escape from the

social realm36 and reinstates that the queer aesthetic frequently contains blueprints and schematic

of a forward-dawning futurity.37 In this way, performance as a tactic is special, and aids in Muozs

core theory of creating worlds38. Camp, then, is an all-encompassing view of performance. It is never

simply one thing: A sensibility, a mode of engagement, a marker of personal identity, and a sign for

queer community, camps polysemy and indeterminacy make it fabulously frustrating and endlessly

fascinating.39 This is what give camp its power- it is malleable and usable. It creates worlds and

transforms people. It is the expression of queer frustration manifested through glitter. Participating

in camp is speaking with a queer accent40 about subjects that are important to queers, and in its

often comedic effect you can feel the grains of history and rage. In the 90s it was even used as a way

combat homophobia surrounding the AIDS epidemic41. Getsy writes that Once the performative

force of queer is taken on with pride and insubordination, the veneer of enforced normalcy cracks42

and camp is the perfect cracking of the normal. Camp is what marriage wants to be: a subversion

35
See Performance and Cultural Politics for a better understanding of how performance politics plays
into everyday life.
36
Muoz, Jos Esteban. Cruising Utopia: The Then and There of Queer Futurity. New York: NYU Press,
2009. 1.
37
Ibid 1.
38
Here I am brought to one of my favorite quotes from Disidentifications: Performance engenders,
sponsors, and even makes worlds. Muoz, Jos Esteban. "The White to Be Angry: Vaginal Crme
Daviss Terrorist Drag." Disidentifications: Queers of Color and the Performance of Politics. Vol. 2.
Minneapolis, London: U of Minnesota, 1999. 111. Print.
39
Jones, Matthew J. "Enough of being Basely Tearful: Glitter and be Gay and the Camp
Politics of Queer Resistance." Journal of the Society for American Music 10, no. 4 (2016): 443.
40
Ibid 425.
41
Gould writes on page 196 in her book Moving Politics: Emotion and ACT UPs Fight Against AIDS:
In the face of homophobia and other indignities, AIDS activists camped it up and explains how
camp was used as a measure of defense and utilized to convey powerful emotions in complex ways.
42
Getsy, David. "Introduction: Queer Intolerability and Its Attachments." Queer: Documents of
Contemporary Art. Ed. David Getsy. London, Cambridge: Whitechapel Gallery, The MIT, 2016. 15.
 Kalinoski 10

from within. While gay marriage celebrates the inclusion in a group and assimilates its violent

traditions, camp takes the harmful traditions of its authority and creates a new way of living while

actively critiquing its features. In this way, it is echoing on a grandiose level how a queer person goes

throughout their day. They are constantly aware of the structures around them, but are actively using

and distorting how they interpret them.

The film Tricias Wedding43 is a fabulous example of how camp can be used in art to create

worlds and create spaces of queer liberation. The film is centered around the wedding of a highly

recognizable conservative figure at the time of the films release: Tricia Nixon, Richard Nixons

daughter. The film itself is a drug induced drag show, in which the performers The Cockettes mimic

great stars of their day from politicians to movie stars to the pope. The high-jinks, while wild, are a

reflection back at the world what these queer individuals are receiving: absurdity. Living in San

Fransisco pre-Harvey Milk and having lived through the hippie era of America where legitimate

concerns about the Vietnam war were overshadowed by the counter-culture era and Richard Nixon

was following the democratic and generally progressive LBJ. No marginalized group felt heard with

the election of Nixon, and the queer community in San Francisco was blooming, ready for a catalyst.

The Cockettes were that catalyst. The Cockettes were known for giving out free or nearly free tickets

to their drag shows, and when the venue wanted to charge they would sneak audience members in

through the back door.44 They were pioneers in camp, unafraid to exist and challenge the

conventions of the everyday.

Glamping: The Pitfalls of Camp

Neoliberalism sucks. White men suck.

43
Tricia's Wedding. Movie. Directed by Milton Miron. USA: 1971. Film.
44
This ticket information comes from the documentary The Cockettes. Weber, Bill and David
Weissman. The Cockettes. Vol. Documentary. USA: Grandelusion Co., 2002.
 Kalinoski 11

Answer My Text45: Moving Forward in Queerness

Conclusion.

Bibliography

Note: Bolded citations are citations that have yet to be integrated into the paper, but are intended to

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Getsy. London, Cambridge: Whitechapel Gallery, The MIT, 2016. 221-222. Print.

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45
This is a reference to a recent single by the same name from PWR BTTM, a well-known queer
group composing of two fabulous trans rockers who have most recently played at SXSW.
 Kalinoski 12

Gessen, Masha. Why We Must Protest. Literary Hub, November 21 2016, 2016.

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 Kalinoski 14

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