This case study of the feminist drag troupe the Disposable Boy Toys (DBT) examines the relationship between drag and gender identity. Drawing on multiple methods, the author explores the range of gender identities that emerged through participation in DBT. Members saw DBT as the central catalyst for their own identity shifts. The author suggests that these identity transformations occurred through four collective mechanisms: imaginative possibility, information and resources, opportunities for enactment, and social support. The author finds that DBT served as an identity incubator in which participants were able and encouraged to interrogate, play with, and sometimes adopt new gender identities. The author concludes that context is critical in understanding the meaning and importance of drag. Performing gender in this politicized, feminist context shaped the gender identities of the troupe's members in fundamental and varied ways, suggesting that oppositional communities can be an important venue for identity work.

In this article, we use case studies of two different drag performance collectives, the 801 Girls, a drag queen troupe in Key West, Florida, and the Disposable Boy Toys, a political feminist collective in Santa Barbara, California, to explore the differences between drag queens and drag kings. We argue that, despite their divergent routes to performing drag and the different contexts and styles of their shows, a similar critique of hegemonic gender and heteronormativity emerges from their performances. As the first systematic comparison of drag queens and drag kings, this article enhances our understanding of the gendered dynamics of drag.

No abstract

No abstract

No abstract