Esta investigación aborda el tema de la representación de la comunidad queer en la escena teatral limeña durante los últimos diez años. A partir de la creciente cantidad de propuestas artísticas que buscan representar a la comunidad LGBTIQ+, en la actualidad, ha surgido un debate sobre la práctica de representar a grupos vulnerables sin ser parte de estos. ¿Acaso los grupos representados lo están siendo realmente? ¿Estamos dándoles una voz en la sociedad a estos grupos o los estamos silenciando sin ser conscientes de ello? Este es el debate que propone esta investigación para poder pensar en buenas prácticas en el rubro artístico. Es así que se buscará demostrar que el suprimir al cuerpo queer de su representación en la escena teatral limeña en los últimos diez años, influye en el silenciamiento de este grupo subalterno. Para esto, se indagará en las dinámicas de dominación a partir de los conceptos “hegemonía”, “subalterno” y “silenciamiento”. Además, se definirá el concepto de cuerpo queer y se describirá la situación de este en Lima. Esto, para exponer las implicancias políticas al momento de ser representado en el teatro. Para finalizar, se comentará el caso de la obra “El arcoíris en las manos” para complementar la teoría. / This research addresses the issue of the representation of the queer community in the Lima theater scene during the last ten years. From the growing number of artistic proposals that seek to represent the LGBTIQ + community, at present, a debate has arisen about the practice of representing vulnerable groups without being part of them. Are we giving these groups a voice in society or are we silencing them without being aware of it? This is the debate that this research proposes in order to think about good practices in the artistic field. This research will seek to demonstrate that the suppression of the queer body from its representation in the Lima theater scene in the last ten years, influences the silencing of this subaltern group. For this, the dynamics of domination will be investigated from the concepts "hegemony", "subaltern" and "silencing". In addition, the concept of the queer body will be defined and its situation in Lima will be described. This, to expose the political implications at the time of being represented in the theater. Finally, the case of the work "El arcoiris en las manos" will be discussed to complement the theory.

Mobilizing the format and legacy of the cabaret genre, the Chez Michou project intertwines the image of the French singer and drag artist Michou with a poetic reflection on disorientation. The bodies on the stage activate a queer spatiality that erases the border between the inner and outer world, between abstraction and the reality of fiction. Guiding the imagination in the confusion of identity, the choreography reveals a cartography of dislocation saturated with vivid textures of objects, gestures and words. The collapse of heteronormative structures is radicalized through the possibility of flesh to oppose fixed coordinates and perform a subject that is somehow out of place. The choreographic language is associated with the mystical insights and screenwriting actions of the cult American director David Lynch. Dramaturgy supported by musical quotes from feminist and activist icons: British music diva Annie Lennox, female post-punk band Le Tigre and iconic queer synth pop ensemble Visage Chez Michou functions as an invitation to lose ourselves, celebrates the disappearing horizon and returns to the affective territories of Otherness. The performance work "Chez Michou" is accompanied by a Choreographic Object / Object called SPOMENAR / Queer Archive of feelings as its complementary, but also independent part. Both works were premiered to the public on May 26 and 27, 2024 at the Modern Dance Theater (MDT) in Stockholm as part of the graduation mini festival. works by students of the master's degree in choreography at the University of the Arts in Stockholm. (https://mdtsthlm.se/makor-mixa-xxl-deluxe-pocetak-svega-ostalog). / <p>In the text that you can find attached to the recording of the performance, a special section is dedicated to the topic "Aging in Dance".</p><p>an important and large topic that I intend to devote myself to in the future through more extensive interdisciplinary research.</p><p>And finally, in this introduction, as a person and an artist I want to show strong solidarity with all the victims of wars, violence, oppression, colonization, racism and discrimination who are currently suffering around the world.</p><p>I wish you pleasant reading and viewing!</p>

Ce mémoire de maîtrise porte sur les formes de relationalité qu’il est possible de vivre et d’imaginer dans le pit, lors de concerts de musique populaire. Le pit—soit l’espace vers le devant du parterre qui est le plus proche de la scène—est problématisé comme étant un lieu qui se déploie à plusieurs échelles affectives, matérielles et théoriques. En s’engageant avec le concept d’utopie tel qu’il est présenté par José Esteban Muñoz dans Cruising Utopia : the then and there of queer futurity (2009)—et par le biais d’une double approche ethnographique et autoethnographique—le mémoire interroge comment les appartenances, les intimités, les dynamiques de surveillance et le concept d’étiquette articulent un espace où les textures affectives sont particulièrement riches. Le mémoire comporte onze vignettes créatives où l’autrice et ses collaborat.eur.rice.s partagent certaines de leurs expériences personnelles dans le pit. Les résonnances thématiques entre les écritures théorique et créative permettent notamment d’explorer les manières d’apercevoir et de s’orienter (Ahmed, 2006) vers des horizons utopiques. / This master’s thesis examines the forms of relationality that can be experienced and imagined in the pit during pop music concerts. The pit—a space towards the front of the audience that is closest to the stage—is problematized as a place that unfolds on several affective, material and theoretical scales. Engaging with the concept of utopia as presented by José Esteban Muñoz in Cruising Utopia: the then and there of queer futurity (2009)— and through a dual ethnographic and autoethnographic approach—the thesis interrogates how belonging, intimacies, the dynamics of surveillance and the concept of etiquette articulate a space where affective textures are particularly rich. The thesis includes eleven creative vignettes in which the author and her collaborators share some of their personal experiences in the pit. The thematic resonances between theoretical and creative writing allow us to explore the ways in which we may witness and orient ourselves (Ahmed, 2006) towards utopian horizons.

Die Bezeichnung der „Anderen“ ist im frühen queeren polnischen Emanzipationsdiskurs weit verbreitet. Sie taucht in Zeitschriften- und Buchtiteln auf und dient zugleich als Selbstbezeichnung zwischen Euphemismus und performativer Abgrenzung. Ab Mitte der 1980er Jahre wird diese „Andersartigkeit“ in der polnischen Öffentlichkeit zunehmend zum gesellschaftlichen Schlagwort mit emanzipatorischem Gehalt. Erstmals bringen sich queere Subjekte in Stellung, um eine mediale und politische Bühne für sich zu beanspruchen. Diese frühe Emanzipationsphase im Spannungsfeld zwischen den politischen Systemen bildet einen Umbruch in der queeren Geschichte Polens. Inmitten dieses Prozesses werden literarische Texte geschrieben und veröffentlicht, die queere Subjekte und deren Erfahrungen explizit in den Fokus rücken. Sie porträtieren lesbische und schwule Protagonist*innen, die sich mit gesellschaftlichen und kulturellen Hindernissen konfrontiert sehen. Einerseits geht es um die Versuche der „Anderen“, sich Gehör zu verschaffen. Dargestellt wird andererseits aber auch ihr Scheitern an den sie umgebenden heteronormativen Strukturen, das mitunter in einer Abwertung der eigenen Identität münden kann. Somit zeigen die Erzähltexte der frühen queeren polnischen Emanzipationsphase ein spannungsreiches Feld aus emanzipatorischen Bestrebungen und selbsterniedrigenden Tendenzen, das den Ausgangspunkt der vorliegenden Arbeit bildet. Im Rahmen der Analyse wird die theoretische Beschaffenheit des Phänomens queerer Selbsterniedrigung beschrieben und mittels semiotischer Überlegungen für die Literaturanalyse nutzbar gemacht. In diesem Rahmen werden in diesem Rahmen nicht nur die Gründe queerer Selbsterniedrigung untersucht, sondern auch ihre möglichen Funktionen im literarischen Text. / The signifier of the “other” is widespread in the early queer Polish emancipation discourse. It appeared in the titles of magazines and books, but also served as a self-designation between euphemism and performative reclamation. From the mid-1980s, this “otherness” increasingly became a social buzzword with emancipatory content in the Polish public sphere. For the first time, queer subjects in Poland positioned themselves in politics and claimed a public stage. This early phase of emancipation marks a turning point in Polish queer history. In the midst of this process, literary texts have been written and published that focus explicitly on queer subjects and their experiences. They portray lesbian and gay protagonists facing social and cultural obstacles. On the one hand, these texts deal with the attempts of the 'other' to make themselves heard. On the other hand, they also contain aspects of queer failure against the surrounding heteronormative structures, which can sometimes lead to a devaluation of one's own identity. The narrative texts of the early phase of Polish queer emancipation thus reveal a tense field between emancipatory aspirations and self-deprecating tendencies. This is the starting point of this study. In the analysis, the theoretical nature of the phenomenon of queer self-deprecation is described and made usable for literary analysis by means of semiotic considerations. Within this framework, the study examines the reasons for queer self-deprecation but also its possible functions in the literary text.

2025 / This dissertation explores the mutual influence between gender and sexuality, music-making and sonic practices in the Carnaval de Barranquilla, the Carnaval Gay de Barranquilla, and the feminist collective Raras no tan Raras. I show that heteronormativity, macho attitudes, and homophobia are reified in music-making and sonic practices in Barranquilla and its carnival expressions. Nevertheless, I also argue that music-making and sonic practices can alter how gender and sexuality are experienced. Through ethnographical observations, I show how exclusion and gender roles can be transferred into music and sonic practices and how music and sound have helped women and LGTBIQ+ people in Barranquilla fight against these systems of oppression. In this way, this dissertation studies how gender and sexuality intersect one of the most important genres in the Carnaval de Barranquilla, Cumbia. Carnaval Gay de Barranquilla practitioners dance to cumbia by playing it in stereos or hiring millo ensembles. Contrarily, Raras no tan Raras play and compose their own music despite not being experienced musicians. In these two cases, I suggest that both forms of musicality can serve to reshape gender and sexuality relationality. To understand the interrelationality between music and sound, and gender and sexuality, I analyze three aspects of Barranquilla and its Carnival expressions: the normativities that govern gender and sexuality, the pre-subjective and subjective effects of music and sound, and the spontaneous and ephemeral relationships that emerge during performances. For this reason, the theoretical perspectives that serve to analyze such aspects are homonormativity (a recurring concept that offers some critical lenses to uncover the adaptations with which heteronormativity is perpetuated), music affect theory (the notion that sound and music are affective forces that have pre-subjective effects on people) and the social production of space (space not as a physical void waiting to be filled but as the product of relations between social entities).Ultimately, this dissertation posits that analyzing the interrelationality between gender and sexuality and music and sound offers different insights into how systems of oppression are perpetuated and how they can be challenged.

This thesis is an intersectional reading of William Faulkner’s novels The Sound and the Fury (1929), As I Lay Dying (1930) and Sanctuary (1931). This paper employs theories of masculinity and queer theory to examine the masculinities in the novels and their connection to blackness. It proceeds from Judith Butler’s book Bodies that Matter. The thesis focuses on the mixture of race, class, gender and sexuality in the novels. I claim that race sometimes is a mask for gender, class and sexuality in these texts. I argue that certain white characters are depicted as Afro-Americans because of their unmanly behavior and/or queer sexuality or low class. For masculinity theory I have used Jørgen Lorentzen and Claes Ekenstam’s concept of manly and unmanly, described in the anthology Män i Norden Manlighet och modernitet 1840-1940. I have also used Craig Thompson Friend’s Southern Masculinity: Perspectives on manhood in the South since Reconstruction and WJ Cash’s The Mind of the South. For the queer theory, I have used Judith Butler’s theories described in Gendertrouble and Bodies that Matter. / Den här uppsatsen är en intersektionell läsning av William Faulkners romaner The Sound and the Fury (1929), As I Lay Dying (1930) och Sanctuary (1931). Den här uppsatsen använder sig av maskulinitetsteori och queerteori för att undersöka maskuliniteterna i romanerna och deras förbindelse till svarthet. Den utgår från Judith Butlers bok Bodies that Matter. Uppsatsen fokuserar på blandningen av ras, klass, genus och sexualitet i texterna. Jag påstår att ras ibland agerar som en mask för genus, klass och sexualitet i de här texterna. Jag menar att vissa vita romanfigurer skildras som afroamerikaner på grund av sitt omanliga beteende och/eller queera sexualitet eller låga klass. Till maskulinitetsteorin har jag använt mig av Jørgen Lorentzen och Claes Ekenstams begrepp manlig och omanlig, beskrivna i antologin Män i Norden Manlighet och modernitet 1840-1940. Jag har även använt Craig Thomson Friends Southern Masculinity: Perspectives on manhood in the South since Reconstruction och WJ Cashs The Mind of the South. Till queer teorin har jag använt Judith Butlers teorier beskrivna i Gendertrouble och Bodies that Matter.

Working alongside five queer-identified theatre artists, using critical arts-based participatory action research, this research project worked through a creative process in which the research team identified, deconstructed, and disrupted normative queer discourses on the video-sharing website YouTube. Using notions from queer theory, cultural studies, and anti-oppression education, along with embodied analysis as a deconstructive strategy, the research team used collective theorizing and performance to facilitate an analysis of the online videos. In this thesis, I discuss embodied knowing by analyzing performative moments in the creative workshop undertaken by the research team. I then provide a thematic analysis of the online videos, followed by an analysis of how the research team used collective creation and personal narrative to produce a counter-hegemonic response video. Finally, I conclude with a discussion on how to engage video creation as a form of anti-oppression education that queers public pedagogy.

Working alongside five queer-identified theatre artists, using critical arts-based participatory action research, this research project worked through a creative process in which the research team identified, deconstructed, and disrupted normative queer discourses on the video-sharing website YouTube. Using notions from queer theory, cultural studies, and anti-oppression education, along with embodied analysis as a deconstructive strategy, the research team used collective theorizing and performance to facilitate an analysis of the online videos. In this thesis, I discuss embodied knowing by analyzing performative moments in the creative workshop undertaken by the research team. I then provide a thematic analysis of the online videos, followed by an analysis of how the research team used collective creation and personal narrative to produce a counter-hegemonic response video. Finally, I conclude with a discussion on how to engage video creation as a form of anti-oppression education that queers public pedagogy.

Archiv bezeichnet eine Einrichtung, in der Schriftstücke, Dokumente, Akten und andere Zeugnisse gesammelt, geordnet, bewahrt und restauriert werden. Archive erfüllen als Verwaltungs- und Erinnerungsorte eine Vielzahl von Funktionen und sind eng mit institutioneller Macht verschränkt. Kulturwissenschaftliche Analysen zeigen, dass analoge und digitale Archive bestimmten Akteur*innen mehr Raum und Sichtbarkeit gewähren als anderen. Dabei strukturieren soziale Kategorien wie gender, race und class den Zugang zum und den Eingang ins Archiv. Eine intersektionale Heterogenisierung des Archivs wird in Teilen der Wissenschaft sowie von privaten Initiativen deshalb angestrebt, löst aber auch Kritik aus.

Mit dem Begriff Heteronormativität wird die Naturalisierung und Privilegierung von Heterosexualität und Zweigeschlechtlichkeit in Frage gestellt. Kritisiert werden nicht nur die auf Alltagswissen bezogene Annahme, es gäbe zwei gegensätzliche Geschlechter und diese seien sexuell aufeinander bezogen, sondern auch die mit Zweigeschlechtlichkeit und Heterosexualität einhergehenden Privilegierungen und Marginalisierungen. Der Begriff tauchte erstmalig 1991 in Michael Warners Aufsatz 'Introduction: Fear of a Queer Planet' auf. Zentrale Bezugspunkte der Analysen von Heteronormativität stellen Foucaults Untersuchungen zum Zusammenhang von Sexualität und Macht sowie Butlers Theorie der Subjektkonstitution im Rahmen der heterosexuellen Matrix oder der heterosexuellen Hegemonie dar.