Triangulations: Lesbian/Gay/Queer/Trans Theater/Dance/Performance – serie

At his 1994 inauguration, South African president Nelson Mandela announced the “Rainbow Nation, at peace with itself and the world.” This national rainbow notably extended beyond the bounds of racial coexistence and reconciliation to include “sexual orientation” as a protected category in the Bill of Rights. Yet despite the promise of equality and dignity, the new government’s alliance with neoliberal interests and the devastation of the AIDS epidemic left South Africa an increasingly unequal society.Prismatic Performances focuses on the queer embodiments that both reveal and animate the gaps between South Africa’s self-image and its lived realities. It argues that performance has become a key location where contradictions inherent to South Africa’s post-apartheid identity are negotiated. The book spans 30 years of cultural production and numerous social locations and includes: a team of black lesbian soccer players who reveal and redefine the gendered and sexed limitations of racialized “Africanness;” white gay performers who use drag and gender subversion to work through questions of racial and societal transformation; black artists across the arts who have developed aesthetics that place on display their audiences’ complicity in the problem of sexual violence; and a primarily heterosexual panAfrican online soap opera fandom community who, by combining new virtual spaces with old melodramatic tropes allow for extended deliberation and new paradigms through which African same-sex relationships are acceptable.Prismatic Performances contends that when explicitly queer bodies emerge onto public stages, audiences are made intimately aware of their own bodies’ identifications and desires. As the sheen of the New South Africa began to fade, these performances revealed the inadequacy and, indeed, the violence, of the Rainbow Nation as an aspirational metaphor. Simultaneously they created space for imagining new radical configurations of belonging.

Performing Queer Latinidad highlights the critical role that performance played in the development of Latina/o queer public culture in the United States during the 1990s and early 2000s, a period when the size and influence of the Latina/o population was increasing alongside a growing scrutiny of the public spaces where latinidad could circulate. Performances---from concert dance and street protest to the choreographic strategies deployed by dancers at nightclubs---served as critical meeting points and practices through which LGBT and other nonnormative sex practitioners of Latin American descent (individuals with greatly differing cultures, histories of migration or annexation to the United States, and contemporary living conditions) encountered each other and forged social, cultural, and political bonds. At a time when latinidad ascended to the national public sphere in mainstream commercial and political venues and Latina/o public space was increasingly threatened by the redevelopment of urban centers and a revived anti-immigrant campaign, queer Latinas/os in places such as the Bronx, San Antonio, Austin, Phoenix, and Rochester, NY, returned to performance to claim spaces and ways of being that allowed their queerness and latinidad to coexist. These social events of performance and their attendant aesthetic communication strategies served as critical sites and tactics for creating and sustaining queer latinidad.

Butch Queens Up in Pumps examines Ballroom culture, in which inner-city LGBT individuals dress, dance, and vogue to compete for prizes and trophies. Participants are affiliated with a house, an alternative family structure typically named after haute couture designers and providing support to this diverse community. Marlon M. Bailey’s rich first-person performance ethnography of the Ballroom scene in Detroit examines Ballroom as a queer cultural formation that upsets dominant notions of gender, sexuality, kinship, and community.

Ishtyle follows queer South Asian men across borders into gay neighborhoods, nightclubs, bars, and house parties in Bangalore and Chicago. Bringing the cultural practices they are most familiar with into these spaces, these men accent the aesthetics of nightlife cultures through performance. Kareem Khubchandani develops the notion of “ishtyle” to name this accented style, while also showing how brown bodies inadvertently become accents themselves, ornamental inclusions in the racialized grammar of desire. Ishtyle allows us to reimagine a global class perpetually represented as docile and desexualized workers caught in the web of global capitalism. The book highlights a different kind of labor, the embodied work these men do to feel queer and sexy together. Engaging major themes in queer studies, Khubchandani explains how his interlocutors’ performances stage relationships between: colonial law and public sexuality; film divas and queer fans; and race, caste, and desire. Ultimately, the book demonstrates that the unlikely site of nightlife can be a productive venue for the study of global politics and its institutional hierarchies.

This is the first book to dedicate critical attention to the work of influential theater-maker Taylor Mac. Mac is particularly celebrated for the historic performance event A 24-Decade History of Popular Music, in which Mac, in fantastical costumes designed by collaborator Machine Dazzle, sang the history of the United States for 24 straight hours in October 2016. The MacArthur Foundation soon thereafter awarded their “genius” award to a “writer, director, actor, singer, and performance artist whose fearlessly experimental works dramatize the power of theater as a space for building community . . . [and who] interacts with the audience to inspire a reconsideration of assumptions about gender, identity, ethnicity, and performance itself.”Featuring essays, interviews, and commentaries by noted critics and artists, the volume examines the vastness of Mac’s theatrical imagination, the singularity of their voice, the inclusiveness of their cultural insights and critiques, and the creativity they display through stylistic and formal qualities and the unorthodoxies of their personal and professional trajectories. Contributors consider the range of Mac’s career as a playwright, performer, actor, and singer, expanding and enriching the conversation on this much-celebrated and deeply resonant body of work.

In 2015, Mexico City declared itself a “gay-friendly” city and followed up with a gay tourist guide and new laws permitting changes to gender markers on legal documents, sanctioning same-sex marriage, and allowing joint adoption of children. At the same time, patterns of violence and discrimination against women, trans, and queer people have continued throughout the country. In Queer Relajo, David Tenorio argues that while Mexico City aims to bring visibility to queer sociality, the benefits of legitimizing queer space remain unclear. Combining readings of film, digital media, and performance with drag autoethnography, Queer Relajo quite literally plays with how relajo (or playfulness) structures the spaces of queer nightlife in urban contexts by revealing how nighttime intimacy can minimize the paralyzing effects of violence and precarity in a neoliberal Mexico. Considering the political implications of when a queer/trans person is present at night, Tenorio argues that queer feelings of play are not only essential to sexual liberation, but also resist neoliberal commodification and heteronormative extraction.

“A superb tribute to theatrical pioneers—The Gay and Lesbian Theatrical Legacy is required reading for both theatre scholars and gay/lesbian/bisexual history aficionados. A fascinating journey awaits them all in this highly recommended volume.” —Broadside: Newsletter of the Theatre Library AssociationThe Gay and Lesbian Theatrical Legacy collects in a single volume biographies of more than one hundred notable figures whose careers flourished in the years before the 1969 Stonewall Riots marked the beginning of the gay and lesbian civil rights movement in the United States. The leading lights in American theater have included innumerable individuals whose sexualities have deviated from prevailing norms, but this history has until recently been largely unwritten and unknown. This book contributes significantly to the recovery of this history, fashioning a much fuller, more nuanced portrait of American theater as it evolved and shedding light on the influence that sexual desire may have had on professional choices, relationships, and artistic achievements. The Gay and Lesbian Theatrical Legacy collects biographies and portraits of influential actors, playwrights, composers, directors, designers, dancers, producers, managers, critics, choreographers, and technicians who made their mark on the American theater. Its broad coverage provides an extended glimpse into lives and careers that intersected and into networks of affiliation that made theatrical history and, by extension, social and cultural history. The late Billy J. Harbin was Professor of Theater, Louisiana State University. Kim Marra is Associate Professor of Theater, University of Iowa. Robert A. Schanke is Professor of Theater Emeritus, Central College, Pella, Iowa.

"Robin Bernstein's Cast Out is my latest must have, an important new mapping of the intersection of gender and performance studies."-Holly HughesCast Out is a collection of memoirs and interviews by twenty-two leading performers, playwrights, technicians, producers, critics, educators, and passionate spectators.Cast Out also offers a backstage pass to the personal and creative lives of some of the most important and influential theater artists of the past fifty years: Edward Albee discusses the homophobic critical attacks he endured in the 50s and 60s; Cherry Jones talks about the first time she accepted a Tony Award-and her decision, in that moment, to come out; Peggy Shaw speaks of the drag queen who first inspired her stage career; Craig Lucas issues an impassioned call for theater practitioners and other artists to unite for the sake of art, creativity, and social change. Also included are memoirs by and interviews with Kate Bornstein, Lisa Kron, Tim Miller, and George C. Wolfe, among others. These diverse voices dispel the cliché of theater as a "safe haven" and replace the stereotype with a nuanced group portrait of the ways in which theater and queerness intersect.Featuring writing by:Edward AlbeeKate BornsteinRichard BrachoBree CovenTerry GallowayKarleen Pendleton JiménezCherry JonesLisa KronCraig LucasTim MillerJim ProvenzanoPeggy ShawGeorge C. Wolfeand more

Queering Mestizaje employs theories of postcolonial cultural studies (including performance studies, queer and feminist theory) to examine the notion of mestizaje---the mixing of races, and specifically indigenous peoples, with European colonizers---and how this phenomenon manifests itself in three geographically diverse spaces: the United States, Latin America, and the Philippines. Alicia Arrizón argues that, as an imaginary site for racialized, gendered, and sexualized identities, mestizaje raises questions about historical transformation and cultural memory across Spanish postcolonial sites. Arrizón offers new, queer readings of the hybrid, the intercultural body, and the hyphenated self, building on the work of Gloria Anzaldúa, Antonio Benitez-Rojo, Walter Mignolo, and Vera Kutzinski, while challenging accepted discourses about the relationship between colonizer and colonized. Queering Mestizaje is unique in the connections it makes between the Spanish colonial legacy in the Philippines and in the Americas. An engagingly eclectic array of cultural materials---including examples from performance art, colonial literature, visual art, fashion, and consumer products---are discussed, and included in the book's twenty-nine illustrations. "Arrizón takes as her point of departure the connections and distinctions between the four keywords in the title (each with a long, specific, and convoluted history in its own right) while bringing together the Philippines, the Hispanophone Caribbean, and the United States to configure a map carved by the same blade of colonialism and imperialism. In its conjoining of queer, mestizaje, transculturation and performance, the pleasurable and enlightening variety of its textual examples, and its commitment to theorize desire from the space of queer mestizaje, her book makes a unique and accomplished contribution." ---Yvonne Yarbro-Bejarano, Stanford University Alicia Arrizón is Professor of Women's Studies at the University of California, Riverside. She is author of Latina Performance: Traversing the Stage and co-editor of Latinas on Stage: Practice and Theory. Illustration: Judith F. Baca, La Mestizaje (1991), pastel on paper. © SPARC.

Ishtyle follows queer South Asian men across borders into gay neighborhoods, nightclubs, bars, and house parties in Bangalore and Chicago. Bringing the cultural practices they are most familiar with into these spaces, these men accent the aesthetics of nightlife cultures through performance. Kareem Khubchandani develops the notion of “ishtyle” to name this accented style, while also showing how brown bodies inadvertently become accents themselves, ornamental inclusions in the racialized grammar of desire. Ishtyle allows us to reimagine a global class perpetually represented as docile and desexualized workers caught in the web of global capitalism. The book highlights a different kind of labor, the embodied work these men do to feel queer and sexy together. Engaging major themes in queer studies, Khubchandani explains how his interlocutors’ performances stage relationships between: colonial law and public sexuality; film divas and queer fans; and race, caste, and desire. Ultimately, the book demonstrates that the unlikely site of nightlife can be a productive venue for the study of global politics and its institutional hierarchies.

At the height of her career, actress Charlotte Cushman (1816-76) was one of the most famous women in the English-speaking world. Cushman challenged Victorian notions of gender in her stage portrayals of male characters and of strong, androgynous female characters. Offstage, she was a powerful businesswoman who supported her family, women lovers, and friends.Lisa Merrill examines Cushman's personal correspondence to shed new light on the actress's relationships and in turn on our understandings of the nature of women's "romantic friendships." She demonstrates how Cushman's androgynous presence served as a symbol to many of her contemporaries, and revealed their multiple and often contradictory attitudes toward female performers, women, and the unspeakable possibilities of same-sex desire.The biography draws upon unpublished archival material as well as on current critical work to view Cushman's career, relationships, and posthumous reception. When Romeo Was a Woman examines as autobiographical performance Cushman's own narratives, the stories she authorized others to write, and the letters she wrote to intimates. The book is richly illustrated with many previously unpublished portraits of Cushman in her various stage roles, including Romeo and Lady Macbeth, and other revealing photographs of her family, lovers and friends. When Romeo Was a Woman will find an appreciative audience among general readers as well as specialists in gay/lesbian history, women's history, theater and performance, popular culture, Victorian studies, and American studies. "A fascinating story, and a major contribution to our understanding of lesbian history. . . . The work done on archival resources is both impressive in its extent and wholly convincing in its effect." --Jacky Bratton, University of London Lisa Merrill is Associate Professor of Communication and Performance Studies, Hofstra University. She is the coauthor of The Power to Communicate: Gender Differences as Barriers, and the author of Untying the Tongue: Power, Gender, and the Word, forthcoming.