{"id":7614,"date":"2026-03-31T11:11:29","date_gmt":"2026-03-31T09:11:29","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=7614"},"modified":"2026-03-31T11:30:51","modified_gmt":"2026-03-31T09:30:51","slug":"mdwp008-003","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\/","title":{"rendered":"Queering"},"content":{"rendered":"<style>\n        .tsquotation strong {<br \/>\n            font-weight: bold;<br \/>\n        }<br \/>\n        .tsquotation em {<br \/>\n            font-style: italic !important;<br \/>\n        }<br \/>\n        .bibliography {<br \/>\n            margin-top: -1em !important;<br \/>\n            padding-left: 22px;<br \/>\n            text-indent: -22px;<br \/>\n        }<br \/>\n        figure {<br \/>\n            margin: 0;<br \/>\n        }<br \/>\n    <\/style>\n<p>&nbsp;<\/p>\n<div class=\"one_half\">\n<p style=\"text-align: left;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-002\/\" style=\"color:#000000 !important;\">&#129028;<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-004\" style=\"color:#000000 !important;\">&#129030;<\/a><\/span><\/div><div class=\"clear-fix\"><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><div class=\"toggle-content\"><p>\n<div id=\"zotpress-0ed4ef21d9995ef1a7258e1df4bfc608\" class=\"zp-Zotpress zp-Zotpress-Bib wp-block-group\">\n\n\t\t<span 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ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%2275KZDHUJ%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Annu%5Cu00df%22%2C%22parsedDate%22%3A%222025%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BAnnu%26%23xDF%3B%2C%20Evelyn.%202025.%20%26lt%3Bi%26gt%3BDirty%20Dragging.%20Performative%20Transpositions%26lt%3B%5C%2Fi%26gt%3B.%20mdwPress.%20%26lt%3Ba%20class%3D%26%23039%3Bzp-ItemURL%26%23039%3B%20href%3D%26%23039%3Bhttps%3A%5C%2F%5C%2Fdoi.org%5C%2F10.14361%5C%2F9783839474754%26%23039%3B%26gt%3Bhttps%3A%5C%2F%5C%2Fdoi.org%5C%2F10.14361%5C%2F9783839474754%26lt%3B%5C%2Fa%26gt%3B.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3D75KZDHUJ%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22book%22%2C%22title%22%3A%22Dirty%20Dragging.%20Performative%20Transpositions%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Evelyn%22%2C%22lastName%22%3A%22Annu%5Cu00df%22%7D%5D%2C%22abstractNote%22%3A%22Dirty%20Dragging%20contributes%20to%20queer%20retheorizations%20and%20explores%20the%20ambivalence%20of%20transgressive%20performances%20under%20apartheid%2C%20Nazism%2C%20and%20Jim%20Crow%20through%20a%20transoceanic%20lens.%20The%20book%20takes%20up%20the%20ambivalence%20of%20%5Cu201cdirty%5Cu201d%20performance%20modes%5Cu2014spanning%20drag%20and%20carnival%20to%20propaganda%5Cu2014and%20extends%20readings%20of%20gender%20bending%20by%20incorporating%20perspectives%20on%20blackface%20and%20%5Cu201cracialized%20drag.%5Cu201d%20It%20%20explores%20violent%2C%20locally%20specific%20mobilizations%20of%20the%20transgressive%20along%20with%20the%20ways%20in%20which%20queer%20and%20creolized%20forms%20of%20performance%20intertwine%20to%20oppose%20identitarian%20boundaries.%20Given%20the%20current%20slide%20into%20right-wing%20authoritarianism%2C%20the%20book%20thereby%20gestures%20toward%20the%20potential%20joy%20of%20collectively%20making%20societal%20conditions%20dance%22%2C%22date%22%3A%222025%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%22978-3-8376-7475-0%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22https%3A%5C%2F%5C%2Fdoi.org%5C%2F10.14361%5C%2F9783839474754%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22en%22%2C%22collections%22%3A%5B%22RJ2DWDIJ%22%5D%2C%22dateModified%22%3A%222026-03-11T09%3A28%3A12Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-7614-4511395-75KZDHUJ\" data-zp-author-date='Annu\u00df-2025' data-zp-date-author='2025-Annu\u00df' data-zp-date='2025' data-zp-year='2025' data-zp-itemtype='book' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Annu\u00df, Evelyn. 2025. <i>Dirty Dragging. Performative Transpositions<\/i>. mdwPress. <a class='zp-ItemURL' href='https:\/\/doi.org\/10.14361\/9783839474754'>https:\/\/doi.org\/10.14361\/9783839474754<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=75KZDHUJ' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">Collecting (Kewpie)<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01_Kewpie-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre.jpg\" alt=\"Author\u2019s note: Dirty Dragging is based on detailed readings of the images and understands these as situated work. Accordingly, the book functions at crucial points without the supplementary captions added here; methodologically, my approach resists the notion of supposedly objective image description and the idea that accessibility can be achieved in just a few sentences.&#xa;&#xa;A sepia-toned photo shows a person dancing barefoot amid rubble, wearing a white baby-doll outfit, mouth open, right arm stretched upward, and left leg raised.\" width=\"1400\" height=\"1339\" class=\"alignnone size-full wp-image-7296\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01_Kewpie-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre.jpg 1400w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01_Kewpie-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-300x287.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01_Kewpie-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-1024x979.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01_Kewpie-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-150x143.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01_Kewpie-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-768x735.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01_Kewpie-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-850x813.jpg 850w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 1:<\/strong> Kewpie, District Six, near Invery Place, Cape Town, late 1960s. Kewpie Collection, GALA Queer Archive, Johannesburg, South Africa (AM2886\/127).<\/span><\/p>\n<p>The undated black-and-white photograph captures a drag queen dancing amid the ruins of a destroyed house. Presumably taken in the late 1960s, this queer street scene in rubble can be read as a visual message in a bottle<span class=\"Hochgestellt\"><span><a href=\"#fn48\" class=\"footnote-ref\" id=\"fnref48\" role=\"doc-noteref\"><sup>48<\/sup><\/a><\/span><\/span><span class=\"EM-Dash\">\u2014<\/span>an offbeat, queer response to destruction. Seen from the side, with their head turned toward the camera, the dancer merges ballet with a revue-style pose. Clad in a kind of negligee, their face is turned toward the camera, mouth open like a playmate\u2019s<span class=\"EM-Dash\">\u2014<\/span>perhaps mid-shout. Their gender-bending performance amalgamates different movement repertoires and plays with referential excess.<span class=\"Hochgestellt\"><span><a href=\"#fn49\" class=\"footnote-ref\" id=\"fnref49\" role=\"doc-noteref\"><sup>49<\/sup><\/a><\/span><\/span> The lower body quotes classical European academic dance. The left leg, stretched into the air, references a grand battement, while the right leg is lifted halfway. Yet the movement is staged in ways that can be read as <em>dirty<\/em>: both legs remain parallel, the upper body breaks the ballet pose, the left arm hangs loosely, and the right arm extends upward beyond the edge of the image. The head is thrown back, bending the vertical axis in another direction. This tension between gestural repertoires and heterogeneous movements renders the citation of European stage dance neither affirmative nor deconstructive. Instead, this gestural drag operates as a performative transposition, recontextualizing the repertoire it employs.<span class=\"Hochgestellt\"><span><a href=\"#fn50\" class=\"footnote-ref\" id=\"fnref50\" role=\"doc-noteref\"><sup>50<\/sup><\/a><\/span><\/span> Here, the traces of what is quoted are not simply reiterated but recycled in a different context<span class=\"EM-Dash\">\u2014<\/span>a street scene in drag, one that is bent, queered, so to speak. Yet what is staged as dirty is less the dancer themself than the \u201cimpure\u201d mode of appearance. The image enacts a queering that extends beyond the staging of a deviant figure, opening up an understanding of performing as related to the body\u2019s environment<span class=\"Hochgestellt\"><span><a href=\"#fn51\" class=\"footnote-ref\" id=\"fnref51\" role=\"doc-noteref\"><sup>51<\/sup><\/a><\/span><\/span><span class=\"EM-Dash\">\u2014<\/span>one that draws attention to transversal lines of flight.<\/p>\n<p>In this shot, scattered stones become apparent, while the dancer\u2019s arm and head are cropped. The framing clearly gestures beyond merely representing a person in drag; it can be read as a queer negotiation of a body dragging its surrounding along. This dragging is not solely tied to outfit and repertoire<span class=\"EM-Dash\">\u2014<\/span>to the tension between gender legibility, bodily image, clothing, and posture. Rather, the image exposes the relationship between the dancing body and its background. On the right and in the center, the scattered stones possess a depth of field that the dancing drag queen\u2019s face, their open mouth, does not. The photograph thus makes the reciprocal conditionality of figure and ground its subject. In its reference to the ruins, the image diffracts central perspective, raising questions about the interrelatedness of presence and absence, uplift and gravitational pull, the dancing figure and the rubble lying around.<\/p>\n<p>This reading is reinforced by the strange, anamorphically distorted shadow cast on the wall behind. While the head is no longer recognizable, the wave-like silhouette of the outstretched leg appears to touch another figure standing on the left, seemingly observing the scene but cropped out of it. The visual composition invites to imagine a scene beyond what is depicted. Hence the bending of the movement repertoire translates into diffraction;<span class=\"Hochgestellt\"><span><a href=\"#fn52\" class=\"footnote-ref\" id=\"fnref52\" role=\"doc-noteref\"><sup>52<\/sup><\/a><\/span><\/span> in doing so, the photograph resists focus, allowing the surrounding environment to come into view. Rather than treating the background as a negligible flipside, I propose considering it as constitutive<span class=\"EM-Dash\">\u2014<\/span>as an invitation to think through the societal, historical, and geographical conditions under which this drag scene was staged: a queer appearance in the midst of rubble. Shot in the 1960s, this dirty dancing in a landscape of ruins recalls the terror of apartheid-era forced removals, preceded by the displacement of the Black population in the 1930s, and the takeover of Cape Town\u2019s inner city by the white middle class.<span class=\"Hochgestellt\"><span><a href=\"#fn53\" class=\"footnote-ref\" id=\"fnref53\" role=\"doc-noteref\"><sup>53<\/sup><\/a><\/span><\/span> Snapped in the context of the criminalization of \u201csexual offenses\u201d and corresponding laws against \u201cdisguises,\u201d the image captures an area near the former port.<span class=\"Hochgestellt\"><span><a href=\"#fn54\" class=\"footnote-ref\" id=\"fnref54\" role=\"doc-noteref\"><sup>54<\/sup><\/a><\/span><\/span> The drag scene has in tow the violent political history from which its environment emerges.<\/p>\n<p>During the colonial period, which began in the mid-sixteenth century, this area was called the <em>tavern of the seas<\/em> and, after the inner-city evictions, <em>salted earth<\/em>. The drag scene reflects the destructive effects of apartheid and the trauma of forced removals from District Six, a neighborhood established in 1867. These removals displaced approximately 60,000 people, making way for white middle-class families in the inner city while driving out residents who did not fit into the bourgeois-colonial-racist family model with its essentialist notions of belonging.<span class=\"Hochgestellt\"><span><a href=\"#fn55\" class=\"footnote-ref\" id=\"fnref55\" role=\"doc-noteref\"><sup>55<\/sup><\/a><\/span><\/span> In retrospect, this image evokes a layered history of forced migration and violent racist gentrification, along with the expulsion of queers from the city. The lines of flight staged in the image<span class=\"EM-Dash\">\u2014<\/span>the continuum between body, shadow, and background<span class=\"EM-Dash\">\u2014<\/span>suggest a particular reading of this drag scene embedded in an uninhabitable space. It is as though what is depicted asserts both the right to remain and the right to move around without restriction.<span class=\"Hochgestellt\"><span><a href=\"#fn56\" class=\"footnote-ref\" id=\"fnref56\" role=\"doc-noteref\"><sup>56<\/sup><\/a><\/span><\/span><\/p>\n<p>The forced removals exemplify the transformation of colonial violence into securitization. In this light, the photograph also reveals how colonial policies of divide and rule were modernized through urban planning and public health policies. Armed with security and sanitation ideology<span class=\"EM-Dash\">\u2014<\/span>prefiguring today\u2019s justifications for gentrification<span class=\"EM-Dash\">\u2014<\/span>the ruling National Party systematically \u201ccleansed\u201d District Six of supposed dirtiness into the 1980s, dismantling existing social and political relationships. Apartheid also foreshadowed later modes of governmentality, of environmental modifications, when it declared the inner city white-only through the implementation of the 1950 Group Areas Act.<span class=\"Hochgestellt\"><span><a href=\"#fn57\" class=\"footnote-ref\" id=\"fnref57\" role=\"doc-noteref\"><sup>57<\/sup><\/a><\/span><\/span> <\/p>\n<p>Largely undeveloped, the area depicted in the photograph still borders Cape Town\u2019s inner city like an open wound, serving as a reminder of destroyed social structures. It also highlights the precarious conditions under which many people continue to live in distant townships, even after the official end of&#160;&#173;apartheid.&#160;The arbitrary classifications of the past continue to shape present-&#173;day class relations and, as Premesh Lalu argues, obstruct the emergence of alternative relationships beyond the lingering effects of everyday \u201cpetty\u201d apartheid in the so-called Rainbow Nation.<span class=\"Hochgestellt\"><span><a href=\"#fn58\" class=\"footnote-ref\" id=\"fnref58\" role=\"doc-noteref\"><sup>58<\/sup><\/a><\/span><\/span> This \u201csalted earth,\u201d still partly left fallow, bears witness to the afterlife of past governmental violence, recalling the devastation of \u201cgrand\u201d apartheid<span class=\"EM-Dash\">\u2014<\/span>its arbitrary racialized, gendered, and class-specific divisions, where colonial coercion and purity laws regulating the nuclear family were repurposed as tools of modern social engineering.<\/p>\n<p>The drag scene of someone dancing barefoot in the rubble of their bulldozed neighborhood<span class=\"EM-Dash\">\u2014<\/span>later referred to as their \u201cgay vicinity\u201d<span class=\"EM-Dash\">\u2014<\/span>was photographed at a time when cross-dressing had been officially banned.<span class=\"Hochgestellt\"><span><a href=\"#fn59\" class=\"footnote-ref\" id=\"fnref59\" role=\"doc-noteref\"><sup>59<\/sup><\/a><\/span><\/span> The image captures someone making a scene despite the forced removals. Here, the rubble is not merely a striking backdrop; rather, it directs the viewer\u2019s attention to the legacy of apartheid.<span class=\"Hochgestellt\"><span><a href=\"#fn60\" class=\"footnote-ref\" id=\"fnref60\" role=\"doc-noteref\"><sup>60<\/sup><\/a><\/span><\/span> Read thus, the photograph challenges identitarian government policies, exposing their inherent violence. The ruins of District Six are not simply juxtaposed with the quotation of a dance culture imbued with colonial history. This dance posture does not call for the decolonization of movement repertoire but rather \u201cindigenizes\u201d what it quotes<span class=\"EM-Dash\">\u2014<\/span>in line with Zimitri Erasmus\u2019s paraphrasing of creolized appropriations, which references Sylvia Wynter.<span class=\"Hochgestellt\"><span><a href=\"#fn61\" class=\"footnote-ref\" id=\"fnref61\" role=\"doc-noteref\"><sup>61<\/sup><\/a><\/span><\/span> In front of a camera playing with shadows in the rubble, someone performs a claim to fluidity amid destruction and segregation, asserting the interweaving of different movement techniques. <\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/02_Mogamat-Kafunta-Benjamin-Salted-Earth-zeigend-District-Six-Cape-Town-2019.jpg\" alt=\"A color photo shows a person standing at the roadside before a table mountain landscape, pointing toward the ground, wearing traditional Muslim white clothing (thawb).\" width=\"1400\" height=\"1867\" class=\"alignnone size-full wp-image-7294\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/02_Mogamat-Kafunta-Benjamin-Salted-Earth-zeigend-District-Six-Cape-Town-2019.jpg 1400w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/02_Mogamat-Kafunta-Benjamin-Salted-Earth-zeigend-District-Six-Cape-Town-2019-225x300.jpg 225w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/02_Mogamat-Kafunta-Benjamin-Salted-Earth-zeigend-District-Six-Cape-Town-2019-768x1024.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/02_Mogamat-Kafunta-Benjamin-Salted-Earth-zeigend-District-Six-Cape-Town-2019-112x150.jpg 112w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/02_Mogamat-Kafunta-Benjamin-Salted-Earth-zeigend-District-Six-Cape-Town-2019-1152x1536.jpg 1152w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/02_Mogamat-Kafunta-Benjamin-Salted-Earth-zeigend-District-Six-Cape-Town-2019-850x1134.jpg 850w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\" \/><br \/>\n<span class=\"caption-text\"><strong>Figure 2:<\/strong> Mogamat Kafunta Benjamin, indicating \u201csalted earth,\u201d District Six, Cape Town, 2019. Photo: Evelyn Annu\u00df.<\/span><\/p>\n<p>In this sense, the image also undermines notions of the self-determined representation of one\u2019s standpoint.<span class=\"Hochgestellt\"><span><a href=\"#fn62\" class=\"footnote-ref\" id=\"fnref62\" role=\"doc-noteref\"><sup>62<\/sup><\/a><\/span><\/span> The camera does not focus on a \u201cspectacle of one queer &#173;standing onstage alone\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn63\" class=\"footnote-ref\" id=\"fnref63\" role=\"doc-noteref\"><sup>63<\/sup><\/a><\/span><\/span><span class=\"EM-Dash\">\u2014<\/span>the paradigmatic scene of queer &#173;deconstruction that Jos\u00e9 Esteban Mu\u00f1oz describes in <em>Disidentifications: Queers of Color and the Performance of Politics<\/em>. This \u201cdirty dancing\u201d is not primarily about representing oneself differently than the apartheid police would allow at the southern tip of the African continent; rather, it drags along the memory of material destruction, the erasure of already existing collective living conditions of all kinds of people. The photograph interweaves the <em>gestus<\/em> of \u201cthis has been\u201d with an embodied gesture of defiance.<span class=\"Hochgestellt\"><span><a href=\"#fn64\" class=\"footnote-ref\" id=\"fnref64\" role=\"doc-noteref\"><sup>64<\/sup><\/a><\/span><\/span> This danced critique of governmental classification thus moves beyond (counter)representation and (dis)&#173;identification.<\/p>\n<h4 id=\"1\">Collecting (Kewpie)<\/h4>\n<p>In <em>What Is Slavery to Me?<\/em>, Pumla Dineo Gqola calls for an approach that does not just subject South Africa to theoretical perspectives developed in the Global North.<span class=\"Hochgestellt\"><span><a href=\"#fn65\" class=\"footnote-ref\" id=\"fnref65\" role=\"doc-noteref\"><sup>65<\/sup><\/a><\/span><\/span> Accordingly, reading this dragging photo is about more than building a bridge \u201cbetween Western queer theory and South African articulations of gender identity and alternative sexualities.\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn66\" class=\"footnote-ref\" id=\"fnref66\" role=\"doc-noteref\"><sup>66<\/sup><\/a><\/span><\/span> What if a different episteme could be ascribed to this specifically situated image<span class=\"EM-Dash\">\u2014<\/span>one that could also be used elsewhere in the present? What if current demands for <em>queering drag<\/em>, as formulated by Meredith Heller in the context of recent trans studies, could be reperspectivized through this scene\u2019s allegorical relationship to its surroundings?<span class=\"Hochgestellt\"><span><a href=\"#fn67\" class=\"footnote-ref\" id=\"fnref67\" role=\"doc-noteref\"><sup>67<\/sup><\/a><\/span><\/span> The drag scene outlined here can be read as a practical theory, reflexively bound to its environment<span class=\"EM-Dash\">\u2014<\/span>as <em>Umgebungswissen<\/em><span class=\"EM-Dash\">\u2014<\/span>that is useful beyond its specific situatedness. This theory contradicts the violent identitarian thinking which emerged over the course of colonial expansion, lives on in a modernized form in the politics of apartheid, and continues to materialize in contemporary discourse.<span class=\"Hochgestellt\"><span><a href=\"#fn68\" class=\"footnote-ref\" id=\"fnref68\" role=\"doc-noteref\"><sup>68<\/sup><\/a><\/span><\/span><\/p>\n<p>As we will see, this drag scene is a site of anti-identitarian assembly, what Julia Prager has called \u201cver-sammeln.\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn69\" class=\"footnote-ref\" id=\"fnref69\" role=\"doc-noteref\"><sup>69<\/sup><\/a><\/span><\/span> And this, in turn, resonates with the history of collecting photographs. Especially under apartheid, both street and studio photography were media for bearing political witness.<span class=\"Hochgestellt\"><span><a href=\"#fn70\" class=\"footnote-ref\" id=\"fnref70\" role=\"doc-noteref\"><sup>70<\/sup><\/a><\/span><\/span> The drag scene described here is a minor photo in the sense of Katrin K\u00f6ppert following Deleuze and Guattari,<span class=\"Hochgestellt\"><span><a href=\"#fn71\" class=\"footnote-ref\" id=\"fnref71\" role=\"doc-noteref\"><sup>71<\/sup><\/a><\/span><\/span> emphasizing the political necessity of engaging directly with everyday life and lived environments. It enacts what Ruth Ramsden-Karelse rightly interprets as a visual politics that is less documentary than performative.<span class=\"Hochgestellt\"><span><a href=\"#fn72\" class=\"footnote-ref\" id=\"fnref72\" role=\"doc-noteref\"><sup>72<\/sup><\/a><\/span><\/span> The image is part of the Kewpie Collection, which comprises over 700 photographs spanning from the 1950s to the 1980s. In 1998<span class=\"EM-Dash\">\u2014<\/span>fourteen years before her passing and just a few years after the collapse of the apartheid regime<span class=\"EM-Dash\">\u2014<\/span>Kewpie, read today as <em>the<\/em> drag icon of District Six, sold her photo collection to the GALA Queer Archive in Johannesburg, which had been founded only a year earlier. In doing so, she contributed to a new historiography from below.<span class=\"Hochgestellt\"><span><a href=\"#fn73\" class=\"footnote-ref\" id=\"fnref73\" role=\"doc-noteref\"><sup>73<\/sup><\/a><\/span><\/span> Clearly aware of the collection\u2019s historical significance, Kewpie, as Malcolm Corrigall and Jenny Marsden note, created the first \u201cexplicitly queer personal photographic collection\u201d in South Africa accessible to a wider public.<span class=\"Hochgestellt\"><span><a href=\"#fn74\" class=\"footnote-ref\" id=\"fnref74\" role=\"doc-noteref\"><sup>74<\/sup><\/a><\/span><\/span> These images would not be available in this way without the fall of apartheid, the end of the Cold War, and the successful fight against anti-LGBTIQ+ laws.<span class=\"Hochgestellt\"><span><a href=\"#fn75\" class=\"footnote-ref\" id=\"fnref75\" role=\"doc-noteref\"><sup>75<\/sup><\/a><\/span><\/span> Today, the digitally accessible collection has gained supraregional significance<span class=\"EM-Dash\">\u2014<\/span>especially in the face of right-wing populist and neocolonial attempts to link antiqueer rhetoric with supposedly decolonial discourses on African indigenous heteronormativity. It is thus far more than personal.<\/p>\n<p>These images have long since migrated online, expanding their reach beyond what could have been anticipated at the time they were taken.<span class=\"Hochgestellt\"><span><a href=\"#fn76\" class=\"footnote-ref\" id=\"fnref76\" role=\"doc-noteref\"><sup>76<\/sup><\/a><\/span><\/span> In 2018 and 2019, the exhibition <em>Kewpie: Daughter of District Six<\/em>, curated by Jenny Marsden and Tina Smith, was presented by GALA (Johannesburg) in cooperation with the District Six Museum (Cape Town). It situated Kewpie within local history, intertwining references to forced removals and antiqueer politics. Kewpie\u2019s image collection is diverse, ranging from private photographs to various studio shots that circulated locally as early as the 1950s and 1960s. The portraits from the Van Kalker Studio, for example<span class=\"EM-Dash\">\u2014<\/span>glamorous images of drag icons of the time<span class=\"EM-Dash\">\u2014<\/span>were exchanged among the community. Many of the drag queens depicted took on the names of famous Hollywood actresses, such as Doris Day, using transoceanic mass cultural references to overemphasize white US femininity and perform a queer otherwise against the backdrop of apartheid.<span class=\"Hochgestellt\"><span><a href=\"#fn77\" class=\"footnote-ref\" id=\"fnref77\" role=\"doc-noteref\"><sup>77<\/sup><\/a><\/span><\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/03_Kewpie-und-Sodia-Osman-l.-Marie-Antoinette-Ball-Ambassador-Club-Sir-Lowry-Road-Cape-Town-1967.jpg\" alt=\"A black-and-white photo shows two laughing people in white ball gowns with feather decorations, long black gloves, and a fan, sitting in a carriage.\" \n<span class=\"caption-text\"><b>Figure 3:<\/b> Kewpie and Sodia (l.), Marie Antoinette Ball, Ambassador Club, Cape Town, Sir Lowry Road, Cape Town, 1967. Kewpie Collection, GALA Queer Archive, Johannesburg, South Africa (AM2886\/81.3).<\/span><\/p>\n<p>Kewpie, born Eugene Fritz in 1941 and performing under the name Capucine in spectacular ballroom and <em>moffie<\/em> <em>konsert<\/em> appearances, also referenced a brand name: that of a white baby doll with blue eyes and a shock of blonde hair, originally produced in Germany for the global market. The doll had an earlier life as a comic character drawn by Rose O\u2019Neill in the 1910s to illustrate feminist claims and has been used as the logo for an internationally marketed Japanese mayonnaise brand from 1925 to the present day. In Cape Town, the name was presumably associated primarily with contemporary Kewpie Doll songs of US pop music. The overt amalgamation of different contexts in Kewpie\u2019s living quotation of a doll paralleled her spectacular appearances, as seen in ballroom photographs such as one showing Kewpie and her friend Sodia in a carriage outside the Ambassador Club. Ramsden-Karelse interprets these images as expressions of survival strategies, as anticipations of freedom of movement beyond the restrictions imposed by precarious living conditions in Kewpie\u2019s immediate surroundings.<span class=\"Hochgestellt\"><span><a href=\"#fn78\" class=\"footnote-ref\" id=\"fnref78\" role=\"doc-noteref\"><sup>78<\/sup><\/a><\/span><\/span> These were \u201cperformances of an elsewhere,\u201d or rather \u201cof an imagined global,\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn79\" class=\"footnote-ref\" id=\"fnref79\" role=\"doc-noteref\"><sup>79<\/sup><\/a><\/span><\/span> that were also about collectively redefining one\u2019s own use value.<\/p>\n<p>However, the street portraits<span class=\"EM-Dash\">\u2014<\/span>often taken without permission by the Movie Snaps Studio and sold on demand, later appearing in Kewpie\u2019s collection<span class=\"EM-Dash\">\u2014<\/span>also bear witness to public opposition to contemporary politics.<span class=\"Hochgestellt\"><span><a href=\"#fn80\" class=\"footnote-ref\" id=\"fnref80\" role=\"doc-noteref\"><sup>80<\/sup><\/a><\/span><\/span> They show that queers like Kewpie remained part of street life in District Six during apartheid. Moreover, the numerous other images in the collection make it clear that both sexist and racist regulations were not entirely enforceable in parts of Cape Town\u2019s inner city, even at the time.<span class=\"Hochgestellt\"><span><a href=\"#fn81\" class=\"footnote-ref\" id=\"fnref81\" role=\"doc-noteref\"><sup>81<\/sup><\/a><\/span><\/span> In this sense, the redefinition of one\u2019s value aimed at the collective negotiation of societal conditions.<\/p>\n<p>Now circulating globally, these images generate new readings, while their provenance become increasingly difficult to trace. Initially collected in albums or displayed as mementos in Kewpie\u2019s hairdressing salon in Kensington<span class=\"EM-Dash\">\u2014<\/span>a queer refuge<span class=\"EM-Dash\">\u2014<\/span>they appear to have been reorganized before being sold. The traces of use suggest their social and (semi)public historiographical function. Corrigall and Marsden, drawing on bell hooks, place them within the context of a collective \u201cnon-institutionalized curatorial process,\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn82\" class=\"footnote-ref\" id=\"fnref82\" role=\"doc-noteref\"><sup>82<\/sup><\/a><\/span><\/span> a countercultural practice of collecting.<\/p>\n<p>In 1998, against the backdrop of apartheid\u2019s collapse, Kewpie provided GALA with additional handwritten captions, some of which are contradictory. The collection illustrates the way the supposedly private spills into the public sphere. It also reflects the unconcern of those involved with claims to authorship or a singular narrative. Even in how they were captured, these images were a collective matter. They do not merely state: <em>just because this has been, it doesn\u2019t have to stay this way<\/em>; rather, they stage this otherwise as a joint effort<span class=\"EM-Dash\">\u2014<\/span>ultimately recalling that apartheid\u2019s eventual collapse was collectively enforced locally while also being supported worldwide.<\/p>\n<p>Accordingly, the image taken here as a starting point belongs to a larger series depicting a queer posse posing in a demolished area<span class=\"EM-Dash\">\u2014<\/span>a posse that contradicts racist and sexist binaries. One photo in this series shows Kewpie with several others, including her friend Brigitte, who also appears cropped at the edge of the scene described above. A retrospective caption from the late 1990s reads: \u201cThe Sea Point girls used to frequent the Queen\u2019s Hotel where we stayed at Invery Place.\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn83\" class=\"footnote-ref\" id=\"fnref83\" role=\"doc-noteref\"><sup>83<\/sup><\/a><\/span><\/span> Kewpie\u2019s caption explicitly connects the photograph to the destruction of her neighborhood by apartheid\u2019s urban planning policies, addressing future viewers. In the group photo, six people laugh into the camera. Once again, the background exposes the area where Kewpie had lived in her house, the \u201cQueen\u2019s Hotel,\u201d before the removals.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/04_Kewpie-Brigitte-und-die-Seapoint-girls-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre.jpg\" alt=\"A sepia-toned photo shows six people posing amid rubble in front of a wall.\" width=\"1400\" height=\"1316\" class=\"alignnone size-full wp-image-7292\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/04_Kewpie-Brigitte-und-die-Seapoint-girls-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre.jpg 1400w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/04_Kewpie-Brigitte-und-die-Seapoint-girls-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-300x282.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/04_Kewpie-Brigitte-und-die-Seapoint-girls-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-1024x963.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/04_Kewpie-Brigitte-und-die-Seapoint-girls-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-150x141.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/04_Kewpie-Brigitte-und-die-Seapoint-girls-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-768x722.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/04_Kewpie-Brigitte-und-die-Seapoint-girls-District-Six-bei-Invery-Place-Cape-Town-spaete-1960er-Jahre-850x799.jpg 850w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 4:<\/b> Kewpie and the Seapoint girls, District Six, near Invery Place, Cape Town, late 1960s. Kewpie Collection, GALA Queer Archive, Johannesburg, South Africa (AM2886\/116.4).<\/span><\/p>\n<p>The cropping and motion blur give this series of images<span class=\"EM-Dash\">\u2014<\/span>whose photographer remains unknown<span class=\"EM-Dash\">\u2014<\/span>the appearance of private snapshots. Yet they also seem anything but spontaneous. Rather, they are \u201ccarefully composed \u2026 stylish,\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn84\" class=\"footnote-ref\" id=\"fnref84\" role=\"doc-noteref\"><sup>84<\/sup><\/a><\/span><\/span> as Corrigall and Marsden observe. Clearly posed, they resist simplistic notions of documentary photography.<span class=\"Hochgestellt\"><span><a href=\"#fn85\" class=\"footnote-ref\" id=\"fnref85\" role=\"doc-noteref\"><sup>85<\/sup><\/a><\/span><\/span> By staging queer relationships in this environment, they assert the right to kinship and sociality beyond standardized norms<span class=\"EM-Dash\">\u2014<\/span>even and precisely in the midst of destruction.<\/p>\n<p>If one follows the GALA catalog for the Kewpie exhibition, these images prefigure today\u2019s gender fluidity, queering drag:<\/p>\n<blockquote>\n<p class=\"tsquotation\">From what we know, Kewpie\u2019s gender identity was fluid, and she did not strictly identify as either male or female. Kewpie and her friends generally used feminine pronouns, and would refer to each other as \u201csisters\u201d and \u201cgirls.\u201d Today, some of these people might identify as transgender, although this term was not used at the time. They were sometimes known as \u201cmoffies,\u201d which can be an offensive term, but in District Six its use was not necessarily derogatory. \u2026 Kewpie herself recalled that \u201c&#160;\u2026 we were called as moffies then. But it was beautifully said \u2026 \u201d<span class=\"Hochgestellt\"><span><a href=\"#fn86\" class=\"footnote-ref\" id=\"fnref86\" role=\"doc-noteref\"><sup>86<\/sup><\/a><\/span><\/span><\/p>\n<\/blockquote>\n<p>Kewpie rejects classification. Here, <em>moffie<\/em> is not simply a synonym for the homophobic or transphobic devaluation of those then called fairies; rather, its significance depends on affective charge, the touching potential of intonation, and its situatedness.<span class=\"Hochgestellt\"><span><a href=\"#fn87\" class=\"footnote-ref\" id=\"fnref87\" role=\"doc-noteref\"><sup>87<\/sup><\/a><\/span><\/span> Making no distinction between trans identity and drag as stage performance,<span class=\"Hochgestellt\"><span><a href=\"#fn88\" class=\"footnote-ref\" id=\"fnref88\" role=\"doc-noteref\"><sup>88<\/sup><\/a><\/span><\/span> this understanding aligns with the image outlined at the beginning of this chapter<span class=\"EM-Dash\">\u2014<\/span>Kewpie dancing in the ruins of District Six with ballet and revue-like moves, interweaving different dancing techniques and exposing the embodiment of opposing repertoires. The environmental gesture of this appearance accentuates assembly. Kewpie\u2019s performance amid the rubble allegorizes resistance against essentializing classification. This dirty dragging recalls the ways people danced in defiance of segregation policies, enacting a kind of performing otherwise.<span class=\"Hochgestellt\"><span><a href=\"#fn89\" class=\"footnote-ref\" id=\"fnref89\" role=\"doc-noteref\"><sup>89<\/sup><\/a><\/span><\/span> The photos of rubble surroundings, in particular, negotiate arbitrary, specifically situated relations and bring their precarious conditions into play.<\/p>\n<p>At the same time, these images drag the memory of others along, expanding the view of dragging in turn. In this sense, Kewpie\u2019s collection<span class=\"EM-Dash\">\u2014<\/span>especially the series depicting the destruction of District Six<span class=\"EM-Dash\">\u2014<\/span>is also intertwined with the memory of other transoceanic histories of forced migration, predating the forced removals and already evoking related cultural techniques of collective resistance. Kewpie\u2019s drag scenes thus refer not only to the destructive power of apartheid but also to specific queer survival strategies, which can themselves be read as creolized techniques that overturn rigid classifications through \u201cillicit blendings\u201d and assert convivial, nonidentitarian ways of relating.<span class=\"Hochgestellt\"><span><a href=\"#fn90\" class=\"footnote-ref\" id=\"fnref90\" role=\"doc-noteref\"><sup>90<\/sup><\/a><\/span><\/span><\/p>\n<p>In \u00c9douard Glissant\u2019s works, situated in the Caribbean, creolization describes unpredictable linguistic reiterations emerging from colonial rule and forced migration. From the \u201cbitter, uncontrollable residue\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn91\" class=\"footnote-ref\" id=\"fnref91\" role=\"doc-noteref\"><sup>91<\/sup><\/a><\/span><\/span> of what was lost displaced people were forced to invent new forms of relating, bringing forth the previously unimaginable. Through what Glissant calls \u201can art of the flight [fugue] from one language to another,\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn92\" class=\"footnote-ref\" id=\"fnref92\" role=\"doc-noteref\"><sup>92<\/sup><\/a><\/span><\/span> those forcibly thrown together subverted the colonial phantasm of maintaining clearly distinguishable groups. Against the identitarian episteme of representation and the universalist ideal of an ordered<em> Totalit\u00e9-monde<\/em> (World-totality), Glissant proposes the translational potential of a chaotic, creolized <em>tout-monde<\/em><span class=\"EM-Dash\">\u2014<\/span>a multitude. His understanding of creolization reveals the flipside of the colonial project and opens up a counterhegemonic perspective on our contemporary globalized world.<span class=\"Hochgestellt\"><span><a href=\"#fn93\" class=\"footnote-ref\" id=\"fnref93\" role=\"doc-noteref\"><sup>93<\/sup><\/a><\/span><\/span> Accordingly, Glissant conceives of creolization as a form of practical knowledge<span class=\"EM-Dash\">\u2014<\/span>one that demonstrates how, despite traumatizing conditions, hyperexploitation, abduction, and arbitrary classification, collective relating remains possible. It is precisely in this sense that Kewpie\u2019s drag scenes can be read.<\/p>\n<p>In contrast to notions of hybridity, mestizaje, or miscegenation, creolization is understood as a decidedly processual and praxeological phenomenon.<span class=\"Hochgestellt\"><span><a href=\"#fn94\" class=\"footnote-ref\" id=\"fnref94\" role=\"doc-noteref\"><sup>94<\/sup><\/a><\/span><\/span> Glissant\u2019s perspective thus <em>provincializes<\/em><span class=\"EM-Dash\">\u2014<\/span>to borrow Dipesh Chakrabarty\u2019s term from subaltern studies<span class=\"Hochgestellt\"><span><a href=\"#fn95\" class=\"footnote-ref\" id=\"fnref95\" role=\"doc-noteref\"><sup>95<\/sup><\/a><\/span><\/span><span class=\"EM-Dash\">\u2014<\/span>the engagement with drag. It contributes, as Tavia Nyong\u2019o suggests, to \u201cunburden blackness and queerness of their identitarian and representational logics.\u201d<span class=\"Hochgestellt\"><span><a href=\"#fn96\" class=\"footnote-ref\" id=\"fnref96\" role=\"doc-noteref\"><sup>96<\/sup><\/a><\/span><\/span> Reading Kewpie\u2019s photos, I seek to bring queering and creolization closer and to explore the incalculable <em>survie<\/em> of creolized, dirty, minor modes of making an appearance in public<span class=\"EM-Dash\">\u2014<\/span>of making a scene.<span class=\"Hochgestellt\"><span><a href=\"#fn97\" class=\"footnote-ref\" id=\"fnref97\" role=\"doc-noteref\"><sup>97<\/sup><\/a><\/span><\/span><\/p>\n<h4>Endnotes<\/h4>\n<hr>\n<ol start=\"48\">\n<li id=\"fn48\">\n<p>See Struck, <em>Flaschenpost, <\/em>2022<em>. <\/em><a href=\"#fnref48\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn49\">\n<p>On repertoire as mnemonic embodiment see Taylor, <em>Archive, <\/em>2003; the following deals with nongenealogical forms of embodiment.<a href=\"#fnref49\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn50\">\n<p>On \u201cgestural drag,\u201d see Ruprecht, <em>Gestural Imaginaries, <\/em>2019. <a href=\"#fnref50\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn51\">\n<p>My take is not neomaterialist, but a materialist understanding of \u201cenvironmentality\u201d; I am interested in reflexive modes of mimetic transgression that are aware of the specific political conditionality of public appearing. For a critique of new materialism with regard to questions of political agency, see Malm and Hornborg, \u201cThe Geology of Mankind?<em>,<\/em>\u201d 2014. <a href=\"#fnref51\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn52\">\n<p>See Deuber-Mankowsky, <em>Praktiken der Illusion<\/em>, 2007: 343; \u201cDiffraktion,\u201d 2011: 89, and Schade, \u201cWiderst\u00e4ndigkeiten<em>,<\/em>\u201d<em> <\/em>2020.<a href=\"#fnref52\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn53\">\n<p>\u201cCape Town was arguably the most racially integrated city in South Africa.\u201d See Trotter, Trauma, 2013: 51.<a href=\"#fnref53\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn54\">\n<p>On the Immorality or Sexual Offences Act (1957) and the Prohibition of Disguises 16, i. e., the ban on drag (1969), see Pacey, Emergence, 2014: 112. On South African gender politics, see Hoad, Martin, and Reid, <em>Sex and Politics in South Africa, <\/em>2005; Carolin, \u201cPost-Apartheid Same-Sex Sexualities,\u201d 2021; Lease and Gevisser, LGBTQI Rights, 2017. On the history of Cape Town, see Bickford-Smith, <em>Ethnic Pride<\/em>, 1995; James, <em>Class, <\/em>2017; Worden et al., <em>Cape Town, <\/em>1998; for an overview on South African history, see Nattrass, <em>A Short History, <\/em>2017, Ross, R., <em>A Concise History, <\/em>2008, Hamil&#173;ton and Ross et al., <em>The Cambridge History of South Africa, <\/em>2009, 2011, here &#173;especially Legassick and R. Ross, \u201cFrom Slave Economy,\u201d 2009; on the South African history of enslavement Dooling and Worden, \u201cSlavery,\u201d 2017; on the Cape: van de Geijn-&#173;Verhoeven et al., <em>Domestic Interiors, <\/em>2002: 115<span class=\"EM-Dash\">\u2014<\/span>137.<a href=\"#fnref54\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn55\">\n<p>With Brah, District Six could be read as a diaspora space; see \u201cDiaspora,\u201d 2003: 615. <a href=\"#fnref55\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn56\">\n<p>See von Redecker\u2019s reformulation of the concept of freedom in <em>Bleibefreiheit, <\/em>2023. On the fundamental right to freedom of circulation, see Balibar, \u201cToward a Diasporic Citizen?,\u201d 2011. <a href=\"#fnref56\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn57\">\n<p>On the environmentality of biopolitics, see Sprenger, <em>Epistemologien des Umgebens<\/em>, 2019. On the social engineering of apartheid, see Adhikari, <em>Burdened, <\/em>2013. On the history of Nazi reception through apartheid, see Kum\u2019a N\u2019Dumbe, <em>Nationalsozialismus und Apartheid<\/em>, 2006. <a href=\"#fnref57\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn58\">\n<p>See Lalu, <em>Undoing Apartheid, <\/em>2022: 46. For a critique of the afterlife of apartheid classifications, even in their critical usage, see Erasmus, \u201cApartheid Race Categories,\u201d 2012.<a href=\"#fnref58\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn59\">\n<p>Corrigall and Marsden 2020 (on the \u201cconjunction of pose and location\u201d: 24; on the anchoring of drag in everyday life in 1960s Cape Town: 16).<a href=\"#fnref59\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn60\">\n<p>This understanding of violence is situated and goes beyond the metaphorical extension of the term as exemplified in Barad\u2019s talk of an \u201capartheid type of difference.\u201d See Barad, \u201cTroubling Time\/s,\u201d 2020. <a href=\"#fnref60\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn61\">\n<p>See Erasmus, \u201cCaribbean Critical Thought,\u201d 2025. On the concept of decolonization, see, for example, Mignolo, <em>The Politics of Decolonial Investigations, <\/em>2021; for a critique of the current metaphorical use of the term, see Tuck and Yang, \u201cDecolonization Is Not a Metaphor,\u201d 2012; for a fundamental critique of decolonial discourse, see T\u00e1\u00edw\u00f2, <em>Against Decolonization, <\/em>2022.<a href=\"#fnref61\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn62\">\n<p>For a critique of simplified notions of positionality and corresponding standpoint theories, see the thematic issue \u201cLeft of Queer,\u201d<em> Social Text<\/em>&#160;3, no.&#160;4, 2005, edited by David Eng and Jaspir Puar.<a href=\"#fnref62\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn63\">\n<p>In distinction from \u201c<em>mainstream representations,<\/em>\u201d see Mu\u00f1oz, <em>Disidentifications<\/em>, 1999, 3. <a href=\"#fnref63\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn64\">\n<p>On the gestus of \u201cthis has been,\u201d see Barthes, <em>Camera Lucida<\/em>, 1981, 79. <a href=\"#fnref64\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn65\">\n<p>See Gqola, <em>Slavery, <\/em>2010: 204.<a href=\"#fnref65\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn66\">\n<p>Lease, \u201cDragging Rights,\u201d 2017: 131. <a href=\"#fnref66\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn67\">\n<p>See Heller, <em>Queering Drag, <\/em>2020.<a href=\"#fnref67\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn68\">\n<p>In contrast, see Samir Amin on the \u201cright to be similar\u201d (<em>Specters of Capitalism<\/em>, 1998: 42) and related reflections on transculturalization (Ortiz, 1995). On the replacement of similarity by identity and the hypostasis of differences in bourgeois-European culture, see Foucault, <em>Les mots et les choses, <\/em>1966, 64. For a critique of postcolonial assertions of alterity and the pitfalls of reversing discourses, see Koschorke, \u201c\u00c4hnlichkeit,\u201d 2015, in Bhatti and Kimmich, <em>\u00c4hnlichkeit; <\/em>Kimmich, <em>Ins Ungef\u00e4hre, <\/em>2017. On theory that has become practical, see Sonderegger, <em>Vom Leben der Kritik<\/em>, 2019.<a href=\"#fnref68\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn69\">\n<p>On the German term, see Prager, \u201cver-sammeln,\u201d 2021; in the context of the DFG network <em>Versammeln: Mediale, r\u00e4umliche und politische Konstellationen. <\/em><a href=\"https:\/\/gepris.dfg.de\/gepris\/projekt\/426798101?language=de\"><span class=\"Hyperlink\">https:\/\/gepris.dfg.de\/gepris\/projekt\/426798101?language=de<\/span><\/a>; accessed September&#160;12, 2024.<a href=\"#fnref69\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn70\">\n<p>On the politicality of South African documentary photography during apartheid, see the works of David Goldblatt, Santu Mokofeng, J\u00fcrgen Schadeberg, and Peter Ugabane; for an example of the Market Photo Workshop in Johannesburg, see <em>Camera Austria <\/em>100<em>, <\/em>2007. <a href=\"#fnref70\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn71\">\n<p>On minor photography as opposed to stigmatizing representations of the Other, see K\u00f6ppert, <em>Queer Pain, <\/em>2021: 13, 317; following Deleuze and Guattari on minor literature (<em>Kafka, <\/em>1986). <a href=\"#fnref71\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn72\">\n<p>\u201cPrivileging their creative rather than documentary functions,\u201d Ramsden-Karelse points out how these photos were used as \u201ca medium of \u2018fantastic\u2019 performance.\u201d See \u201cMoving,\u201d 2020: 410, 427.<a href=\"#fnref72\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn73\">\n<p>See GALA: <a href=\"https:\/\/gala.co.za\/kewpie-daughter-of-district-six\/\"><span class=\"Hyperlink\">https:\/\/gala.co.za\/kewpie-daughter-of-district-six\/<\/span><\/a>, accessed September&#160;24, 2024. On the Kewpie collection, see Corrigall and Marsden, \u201cDistrict Six,\u201d 2020; GALA and District Six Museum, <em>Kewpie, <\/em>2019; Ramsden-Karelse, Moving, 2020, A Precarious Archive, 2023. See also Jack Lewis\u2019s Kewpie films <em>A Normal Daughter: The Life and Times of Kewpie of District Six <\/em>(2000) and <em>Dragging at the Roots: The Life and Times of Kewpie of District Six <\/em>(1997); see also Lewis and Loots, \u201cMoffies,\u201d 1995. On Kewpie\u2019s popularity, see the coverage in <em>Drum Magazine<\/em> (October 1976) and the <em>Golden City Post<\/em> of June&#160;18, July&#160;9, and September&#160;24, 1967.<a href=\"#fnref73\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn74\">\n<p>Corrigall and Marsden, \u201cDistrict Six,\u201d 2020: 11. See also Chetty, \u201cA Drag,\u201d 1995: 123<span class=\"EM-Dash\">\u2014<\/span>124.<a href=\"#fnref74\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn75\">\n<p>On colonial homophobia, see Carolin, \u201cPost-Apartheid Same-Sex Sexualities,\u201d 2021: 9. Today\u2019s neocolonial efforts to implement antiqueer, petty-bourgeois family images through an alliance of the US religious right and Russian investors, under the umbrella of the World Congress of Families on the African continent, and to frame colonial sodomy laws as \u201cdecolonial.\u201d See Kalm and Meeuwisse, \u201cTranscalar Activism,\u201d 2023; Stoeckl, \u201cRussian Christian Right,\u201d 2020; Butler, <em>Who\u2019s Afraid, <\/em>2024 (Chapter 1, \u201cThe Global Scene\u201d). For an overview of the increasingly draconian antisodomy laws, especially in Uganda and Nigeria, see the Amnesty International 2024 report: <a href=\"https:\/\/www.amnesty.org\/en\/documents\/afr01\/7533\/2024\/en\/\"><span class=\"Hyperlink\">https:\/\/www.amnesty.org\/en\/documents\/afr01\/7533\/2024\/en\/<\/span><\/a>, accessed September&#160;5, 2024.<a href=\"#fnref75\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn76\">\n<p>See most recently Ramsden-Karelse, <em>Salon Kewpie, <\/em>2024; <a href=\"https:\/\/www.instagram.com\/kewpie_legacy\/\"><span class=\"Hyperlink\">https:\/\/www.instagram.<\/span><span class=\"Hyperlink\">com\/kewpie_legacy\/<\/span><\/a>; <a href=\"http:\/\/www.youtube.com\/watch?v=YOGhOxK9740\"><span class=\"Hyperlink\">www.youtube.com\/watch?v=YOGhOxK9740<\/span><\/a>; <a href=\"https:\/\/gala.co.za\/salon-kewpie\/\"><span class=\"Hyperlink\">https:\/\/gala.co.za<\/span><span class=\"Hyperlink\">\/salon-kewpie\/<\/span><\/a>, accessed September&#160;22, 2024.<a href=\"#fnref76\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn77\">\n<p>On the Van Kalker Studio, from 1937 in the Woodstock district, see Corrigall and Marsden, District Six, 2020: 19. The Studio Collection can be found in the District Six Museum and brings together a range of staged self-portraits: <a href=\"https:\/\/www.districtsix.co.za\/project\/chamber-of-dreams-photographs-of-the-van-kalker-studio\/\"><span class=\"Hyperlink\">https:\/\/www.districtsix.co.za\/project\/chamber-of-dreams-photographs-of-the-van-kalker-studio\/<\/span><\/a>, accessed September&#160;11, 2024. On the diverse history of African studio photography, see Behrend and Wendl, <em>Snap me one!<\/em>, 1998. On the alternative historiography of studio portraits and the \u201cdemocratization of the portrait\u201d<span class=\"EM-Dash\">\u2014<\/span>here in the Caribbean-British context<span class=\"EM-Dash\">\u2014<\/span>see Hall, \u201cReconstruction Work,\u201d 2024 (originally published 1984): 242.<a href=\"#fnref77\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn78\">\n<p>See Ramsden-Karelse, \u201cMoving,\u201d 2020. <a href=\"#fnref78\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn79\">\n<p>Ramsden-Karelse, \u201cMoving,\u201d 2020: 412, 414.<a href=\"#fnref79\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn80\">\n<p>See the project <em>Movie Snaps. Cape Town Remembers Differently <\/em>at the Centre for Curating the Archive of the University of Cape Town, <a href=\"http:\/\/www.cca.uct.ac.za\/cca\/projects\/movie-snaps-cape-town-remembers-differently\/\"><span class=\"Hyperlink\">http:\/\/www.cca.uct.ac.za\/cca\/projects\/movie-snaps-cape-town-remembers-differently\/<\/span><\/a>. Some of the images have been recolored. On the intermedial play with photography and painting, which Foucault describes as androgynous, see \u201cPhotogenic Painting\u201d\/\u201dLa peinture photog\u00e9nique,\u201d<em> <\/em>1999<em>: <\/em>81<span class=\"EM-Dash\">\u2014<\/span>108, on 82; also Stiegler, <em>Theoriegeschichte der Photographie, <\/em>2006: 360.<a href=\"#fnref80\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn81\">\n<p>The bikini shots on the segregated beach indicate that public gender bending in Cape Town may have been less sanctioned than crossing the apartheid color line; see Corrigall and Marsden, District Six, 2020: 16. <a href=\"#fnref81\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn82\">\n<p>hooks, \u201cIn Our Glory,\u201d 1995: 59<span class=\"EM-Dash\">\u2014<\/span>61; cited in Corrigall and Marsden, \u201cDistrict Six,\u201d 2020: 26.<a href=\"#fnref82\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn83\">\n<p>GALA and District Six Museum, <em>Kewpie, <\/em>2019: 74.<a href=\"#fnref83\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn84\">\n<p>Corrigall and Marsden, \u201cDistrict Six,\u201d 2020: 22.<a href=\"#fnref84\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn85\">\n<p>On the historicity and assertive character of the documentary, see Solomon-Godeau, \u201cWho Is Speaking Thus?,\u201d 1991: 169<span class=\"EM-Dash\">\u2014<\/span>170; see also K\u00f6ppert, <em>Queer Pain, <\/em>2021: 288n35; on occidentalist perspectives, see Bate, \u201cPhotography and the Colonial Vision,\u201d 1993. On the documentary, see Balke et al., <em>Durchbrochene Ordnungen, <\/em>2020.<a href=\"#fnref85\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn86\">\n<p>GALA and District Six Museum, <em>Kewpie, <\/em>2019: 5.<a href=\"#fnref86\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn87\">\n<p>On the current shift from deconstruction to touch, see Erwig and Ungelenk, <em>Ber\u00fchren Denken, <\/em>2021, here especially Ungelenk, \u201cWas hei\u00dft\u201d: 39. For trans studies, see &#173;Preciado<em>, Testo Junkie, <\/em>2013; <em>Apartment, <\/em>2020. On the political nature of affects, of circulating energies, see Massumi, <em>Politics of Affect<\/em>, 2015; Gregg and &#173;Seigworth, <em>Affect Theory, <\/em>2010; on the stickyness of the affective, see Ahmed, <em>The Cultural &#173;Politics of Emotion, <\/em>2014; see also Sophie Zehetmayer\u2019s dissertation project <em>Rhythmic Relations: Transitions of Musical and Social Rhythm <\/em>(mdw).<a href=\"#fnref87\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn88\">\n<p>See Bukkakis, \u201cGender Euphoria<em>,<\/em>\u201d<em> <\/em>2020; in contrast to Stokoe\u2019s separation of drag as an \u201constage performance\u201d from trans as an \u201cidentity category\u201d (<em>Reframing Drag, <\/em>2020: 3).<a href=\"#fnref88\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn89\">\n<p>See Erasmus, <em>Race Otherwise, <\/em>2017, on XXVII; with regard to the United States, see Hartman, <em>Wayward Lives, <\/em>2020. On the definition of the performative \u201cas a kind of action or practice that does not require the proscenium stage,\u201d \u201can action that involves a number of people,\u201d see Butler, \u201cWhen Gesture Becomes Event,\u201d 2017: 171, 180.<a href=\"#fnref89\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn90\">\n<p>I take the notion of \u201cillicit blendings\u201d from Gordon, <em>Creolizing Political Theory, <\/em>2014: 10.<a href=\"#fnref90\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn91\">\n<p>Glissant, <em>Introduction to a Poetics of Diversity<\/em>, 2020: 7; for the French original version see Glissant, <em>Introduction<\/em>, 1996: 18.<a href=\"#fnref91\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn92\">\n<p>Glissant, <em>Introduction to a Poetics of Diversity<\/em>, 2020: 27.<a href=\"#fnref92\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn93\">\n<p>See Glissant,<em> Introduction to a Poetics of Diversity<\/em>, 2020: 8<span class=\"EM-Dash\">\u2014<\/span>9.<a href=\"#fnref93\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn94\">\n<p>See Anzald\u00faa, <em>Borderlands<\/em>, 1987, Bhabha, <em>Hybridity, <\/em>2012. In contrast, see C.&#160;L.&#160;R. James\u2019s reading of the complicit role of the \u201cmulattoes\u201d in the context of the Haitian revolution; see <em>Black Jacobins, <\/em>2022, originally 1938.<a href=\"#fnref94\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn95\">\n<p>See Chakrabarty, Provincializing Europe; see also the Comaroffs\u2019s call for an \u201cex-centric\u201d theory from the South, 2012, and, with regard to the United States, Knauft, \u201cProvincializing America,\u201d 2007.<a href=\"#fnref95\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn96\">\n<p>Nyong\u2019o, <em>Afro-Fabulations<\/em>, 2018: 199. See also Mbembe\u2019s attempt, situated in South African discourse, to undermine US-ontologizations of Blackness, in <em>Critique of Black Reason, <\/em>2017.<a href=\"#fnref96\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn97\">\n<p>On creolization, see Gordon, <em>Creolizing Political Theory<\/em>, 2014; Lionnet and Shih, &#173;<em>Creolization of Theory, <\/em>2011; Brah, Diaspora, 2003: 633. With regard to the Paris Commune and in contrast to deconstructive perspectives, Kristin Ross accentuates <em>survie <\/em>as reemergence; speaking of the surplus of the movement, of a life beyond life as an extension of struggle by other means. <em>Communal Luxury. <\/em>2015: 6<span class=\"EM-Dash\">\u2014<\/span>7. See also Freeman\u2019s plea for a certain vulgar referentiality, i. e., for taking into account the body-related desire of queer theory. <em>Time Binds, <\/em>2010: xxi.<a href=\"#fnref97\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Figure 1: Kewpie, District Six, near Invery Place, Cape Town, late 1960s. Kewpie Collection, GALA Queer Archive, Johannesburg, South Africa (AM2886\/127). The undated black-and-white photograph captures a drag queen dancing amid the ruins of a destroyed house. Presumably taken in the late 1960s, this queer street scene in rubble can be read as a &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[270],"tags":[],"class_list":["post-7614","post","type-post","status-publish","format-standard","hentry","category-annuss-dirty-dragging-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Queering &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Queering &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"&nbsp; Figure 1: Kewpie, District Six, near Invery Place, Cape Town, late 1960s. Kewpie Collection, GALA Queer Archive, Johannesburg, South Africa (AM2886\/127). The undated black-and-white photograph captures a drag queen dancing amid the ruins of a destroyed house. Presumably taken in the late 1960s, this queer street scene in rubble can be read as a &hellip;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\/\" \/>\n<meta property=\"og:site_name\" content=\"mdwPress\" \/>\n<meta property=\"article:published_time\" content=\"2026-03-31T09:11:29+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-31T09:30:51+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" \/>\n<meta name=\"author\" content=\"Jana Diewald\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jana Diewald\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"10\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\/\"},\"author\":{\"name\":\"Jana Diewald\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba\"},\"headline\":\"Queering\",\"datePublished\":\"2026-03-31T09:11:29+00:00\",\"dateModified\":\"2026-03-31T09:30:51+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\/\"},\"wordCount\":2005,\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\",\"articleSection\":[\"Annu\u00df: Dirty Dragging (en)\"],\"inLanguage\":\"de\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp008-003\/\",\"name\":\"Queering &#8211; 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