Performativity is the act of performing something that one does not necessarily identify with. It can include pretending to have certain beliefs, traits, or experiences in order to conform to social norms or expectations.
Someone who identifies as male may dress or act feminine in order to pass as a woman. Performativity can also involve creating artistic works that challenge cultural assumptions about gender identity and sexuality.
Some argue that performativity itself can be embraced as an ethical, aesthetic, and political strategy rather than dismissed as inauthentic. This paper explores this idea by examining how performativity has been used in various contexts, including the work of Judith Butler, the concept of "drag" in queer theory, and the role of performance art in activism.
Examining the Work of Judith Butler
In her book Gender Trouble, Judith Butler argues that gender is performed through language and behavior, rather than being innate or biological. She writes, "Gender is thus the repeated stylization of the body, a set of repeated acts within a highly rigid regulatory frame that congeals over time to produce the appearance of substance, of a natural sort of coherence." In other words, gender is created through performances that are socially and culturally constructed, and therefore can be challenged and reimagined through further performances. This suggests that performativity can be seen as an ethical and political strategy for subverting traditional notions of gender and sexuality. By performing gender differently, we can question and disrupt the power structures that reinforce those categories.
The Concept of "Drag" in Queer Theory
The term "drag" refers to the use of clothing, makeup, and other elements of femininity or masculinity to create a persona that is different from one's own gender identity. In queer theory, drag is often used as a way of critiquing and challenging traditional gender roles and norms. Drag performers may exaggerate stereotypes about men or women in order to highlight their artificiality and suggest that there is no inherent connection between gender and sex.
A drag queen might dress up as a hyper-feminine woman to comment on the limitations imposed on male expression by society. This kind of performativity can be viewed as both artistic and political, as it challenges social norms while also creating space for new expressions of identity.
Performance Art and Activism
Performance art has been used throughout history as a tool for activism and political protest. In the 1960s and 70s, artists like Judy Chicago and VALIE EXPORT created works that were designed to challenge traditional notions of femininity and sexuality. Their performances often involved exposing the body in ways that were considered shocking at the time, but which now seem commonplace. Similarly, performance artists today continue to use their bodies and identities to subvert cultural assumptions.
Ai Weiwei has used his own body to protest Chinese government censorship, and Narcissister uses her body to explore issues of race, gender, and family dynamics. These types of performances can be seen as ethical and political strategies for disrupting power structures and opening up new possibilities for self-expression.
Can performativity itself be embraced as an ethical, aesthetic, and political strategy rather than dismissed as inauthentic?
The concept of performativity has become increasingly popular in recent years due to its ability to encompass both personal and collective experiences. It refers to the process by which individuals create meaning through their actions, words, and behaviors, with the intention of influencing others' perceptions and opinions about themselves.