Created to express cultural and sexual identity of minorities within the gay community, Voguing also served as a tool to reveal and protest heteronormative patriarchy and homophobia, white privilege and thereby the closely linked ideologies of racism and classism. Notably, racism and classism also posed to be considerable factors in the exclusion of African-American and Latin-American homosexual individuals within the mainstream white gay community. Societal anxiety of the then emerging HIV/AIDS crisis and the conservative government under Ronald Reagan, posed to be what Mazzone and Peressini call a threat of “potential and complete exclusion” of African-American and Latin-American citizens from the gay community, American society at large and often even their own families. The broad societal exclusion led to the blossoming of a subculture with its own rules and structures. The analyses of the Voguing roots aims at disclosing the intersections of oppression factors for gay Vogue dancers of colour and further strives to unveil Voguing as a form of subcultural protest against norms established by white patriarchy. Jennie Livingston’s documentary on the 1980s gay ballroom scene in New York serves as a tool to emphasise the unique position of gay outcasts of colour and allows an inspection of the structure and meaning of the ballroom scene with its houses and their organisation as post-modern families. As it is a pivotal aspect of the scene and its power to question traditional family and moral values rooted in religion, leading to heterosexist suppression and condemnation of homosexuals and all gender non-conformists, the documentary and the organisation of the ballroom scene will be analysed. In this context, the first mainstream release of the artist Malcolm McLaren in the late 1980s presenting, and the role of Madonna in the promotion of Voguing in mainstream popular culture in the early 1990s will be discussed. It is argued that Madonna’s work and collaboration with dancers from the Voguing underground scene had the vigour to be an instrument to bring gay issues into the centre of discussion.
Table of Contents
- INTRODUCTION
- THE ROOTS OF VOGUING - FAGGOTS' BALLS
- INTERSECTIONALITY AND THE VAST INEQUALITIES OF A WHITE MAN'S NATION
- RACE AND CLASS
- THE MASCULINE POWER STRUGGLE AND THE THREAT OF SUBVERSION
- HETERONORMATIVITY'S RULE
- A TIME OF CRISIS – HIV/AIDS AND THE CYCLICAL RE-INFORCEMENT OF EJECTION
- CHURCH, MORALITY AND FAMILY REJECTION
- A CHANGING BALLROOM CULTURE – THE LINK BETWEEN PERFORMATIVE REALNESS AND VOGUING
- THE ALTERNATIVE PROJECT – THE ORGANISATION OF HOUSES AS POSTMODERN FAMILIES
- POSTMODERN FAMILIES – GENESIS AND FUNCTION OF HOUSES IN BALLROOM COMPETITIONS
- VOGUING A BODY OF CONTEST
- DEEP IN VOGUE – WILLI NINJA, MALCOLM MCLAREN AND FIRST STEPS INTO THE MAINSTREAM
- CONTEXTUALISING MADONNA AND CRITIQUE ON HER WORK
- NOT QUITE LIKE A VIRGIN – MADONNA'S AMBIGUOUS PLAY ON GENDER IDENTITY
- PRE-VOGUE – MADONNA'S COMMENT ON RACE AND RELIGION
- MADONNA IN VOGUE
- THE VOGUE MUSIC VIDEO – ECHOES OF THE BALL-ROOM SCENE
- THE COUNTER-LOOK – A STRATEGY OF EMPOWERMENT
- THE INTERPLAY OF IMAGE AND SONG LYRICS – THE PROCLAMATION TO VOGUE
- STRIKE A POSE - MADONNA'S DANCERS LOOK BACK
Objectives and Key Themes
This work aims to explore the origins and evolution of Voguing, highlighting its sociocultural significance as a form of protest against systemic inequalities. It investigates the dance's roots in the African-American and Latin-American gay community, analyzing its function as a response to heteronormativity, racism, and classism.
- The historical context of Voguing within the ballroom culture of marginalized communities.
- The intersectionality of race, class, sexuality, and gender in shaping the experience of Voguing dancers.
- Voguing as a form of resistance and self-expression against oppressive social structures.
- The role of Madonna's "Vogue" in bringing the dance to mainstream attention and its impact on the community.
- The evolution of Voguing and its continued relevance as a form of artistic and social commentary.
Chapter Summaries
Introduction: This introductory chapter sets the stage for the subsequent analysis of Voguing, tracing its mainstream emergence through Madonna's 1990 hit song and music video. It establishes the central argument that Voguing, originating in the African-American and Latin-American gay ballroom scene, served as a powerful form of sociocultural protest against heteronormativity, racism, classism, and the societal anxieties surrounding the HIV/AIDS crisis. The chapter outlines the study's methodology, focusing on the intersectional experiences of gay Voguers of color and utilizing Jennie Livingston's documentary Paris is Burning to illuminate the structure and significance of the ballroom scene. It also previews the analysis of Madonna's work, exploring its contribution to bringing Voguing and related social issues into broader public discourse.
THE ROOTS OF VOGUING – FAGGOTS' BALLS: This chapter explores the historical roots of Voguing, tracing its origins to the "faggots' balls" of the 1920s Harlem Renaissance. It highlights the significance of Harlem as a center for African-American cultural expression and examines the context in which these balls flourished as spaces for openly celebrating queer identities. The chapter also addresses the suppression of the ballroom scene due to social and political backlash, and its eventual resurgence within the context of the Civil Rights Movement and gay liberation in the 1960s. The dual nature of Voguing—as both an artistic celebration of beauty and glamour, and a form of protest against oppression—is introduced as a central theme.
INTERSECTIONALITY AND THE VAST INEQUALITIES OF A WHITE MAN'S NATION: This chapter delves into the complex interplay of race, class, and gender within the Voguing scene, adopting an intersectional approach to understand the unique experiences of marginalized gay dancers of color. It explores the historical context of systemic racism and inequality in the United States, demonstrating how these factors contributed to the marginalization of African-American and Latin-American gay individuals both within the broader society and even within the gay community itself. The chapter analyzes how the prevailing heteronormative culture further exacerbated this marginalization, leading to the development of a vibrant but isolated subculture.
A CHANGING BALLROOM CULTURE – THE LINK BETWEEN PERFORMATIVE REALNESS AND VOGUING: This chapter analyzes the evolution of the ballroom culture, focusing on the pivotal role of "houses" as alternative family structures. It examines the genesis and function of these houses within ballroom competitions, emphasizing their significance as sources of support, community, and empowerment for marginalized individuals. The chapter explores how the performance aspect of Voguing, particularly the concept of "realness," allowed participants to challenge societal norms and construct alternative identities. The chapter links these evolving structures and practices to Voguing's development as a form of protest against traditional family values and heteronormative expectations.
VOGUING A BODY OF CONTEST: This chapter discusses the mainstream emergence of Voguing through the work of artists like Willi Ninja and Malcolm McLaren. It examines the early steps of Voguing into the wider cultural landscape, providing a stepping stone for discussion of Madonna's role in bringing the dance to a truly global audience. The chapter analyses how the introduction of Voguing to a broader audience changed the nature of the dance itself and its connection to the ballroom community.
Keywords
Voguing, Ballroom Culture, LGBTQ+, African-American, Latinx, Intersectionality, Racism, Classism, Homophobia, Heteronormativity, Protest, Madonna, Popular Culture, Gender Identity, Postmodern Family, Social Commentary, Performance Art.
Frequently Asked Questions: A Comprehensive Language Preview of Voguing
What is the overall focus of this text?
This text provides a comprehensive overview of Voguing, exploring its origins, evolution, sociocultural significance, and its relationship with the LGBTQ+ community, particularly within the African-American and Latinx communities. It analyzes the dance's function as a form of protest against systemic inequalities, including heteronormativity, racism, and classism, and examines Madonna's role in bringing Voguing to mainstream attention.
What are the key themes explored in the text?
Key themes include the historical context of Voguing within marginalized communities, the intersectionality of race, class, sexuality, and gender within the ballroom culture, Voguing as a form of resistance and self-expression, Madonna's "Vogue" and its impact, and the evolution of Voguing's continued relevance as artistic and social commentary.
What is the historical context of Voguing discussed in the text?
The text traces Voguing's origins to the "faggots' balls" of the 1920s Harlem Renaissance, highlighting Harlem's significance as a center for African-American cultural expression. It explores the suppression and resurgence of the ballroom scene within the contexts of the Civil Rights Movement and gay liberation. The dual nature of Voguing—as both artistic celebration and protest—is emphasized.
How does the text address intersectionality within the Voguing community?
The text uses an intersectional approach to analyze the unique experiences of marginalized gay dancers of color, exploring the complex interplay of race, class, and gender within the Voguing scene. It examines how systemic racism, inequality, and heteronormativity contributed to their marginalization both within society and within the gay community itself.
What is the significance of "houses" in the ballroom culture?
The text highlights the pivotal role of "houses" as alternative family structures within the ballroom culture. These houses provided support, community, and empowerment for marginalized individuals, acting as crucial sources of strength and identity in the face of societal rejection. The significance of these houses within ballroom competitions is also examined.
What is the role of Madonna's "Vogue" in the narrative?
The text analyzes Madonna's "Vogue" and its music video, examining its impact on bringing Voguing into the mainstream. It explores Madonna's ambiguous play on gender identity and the song's echoes of the ballroom scene, along with its implications for the Voguing community both positive and negative, and how the dance form's reception and practice changed in the wake of mainstream popularity.
What is the methodology used in this text?
The text utilizes Jennie Livingston's documentary Paris is Burning to illuminate the structure and significance of the ballroom scene and focuses on the intersectional experiences of gay Voguers of color to provide a nuanced understanding of the subject.
What are the chapter summaries included in the text?
The text provides detailed summaries for each chapter, outlining the key arguments and analyses presented within each section. These summaries cover the introduction, the historical roots of Voguing, intersectionality within the community, the changing ballroom culture and the role of "houses," the mainstream emergence of Voguing, and a critique of Madonna's work.
What are the keywords associated with this text?
Key words include Voguing, Ballroom Culture, LGBTQ+, African-American, Latinx, Intersectionality, Racism, Classism, Homophobia, Heteronormativity, Protest, Madonna, Popular Culture, Gender Identity, Postmodern Family, Social Commentary, and Performance Art.
- Quote paper
- Dominic Junkes (Author), 2017, Express Yourself. Voguing as a Form of Sociocultural Protest, Munich, GRIN Verlag, https://www.grin.com/document/387850
