Gender Performance: From The Freak Show To Modern Drag By Susan Leonardi

Within society’s dominant white supremacist, capitalist, hetero-patriarchal lens, behaving badly can be used as a model for creating change. By directly challenging norms, one is also empowered by centering themselves in whatever action or space is taken. Divadom is drawn around the ability to control, whether it be the narrative presented or the audience, and as a person, the diva uses the body as a platform to perform. “Gender Performance: From the Freak Show to Modern Drag” by Olivia Germann and Chapter seven “Divas Pop and Pomo” of The Diva’s Mouth: Body, Voice, and Prima Donna Politics, both delve into the power of performance for the collective and individual, while simultaneously addressing the constraints imposed by the audience, whether

In chapter seven of The Diva’s Mouth: Body, Voice, and Prima Donna Politics author Susan Leonardi focuses on Madonna’s freedom of expression. Madonna is a prime example the fluidity the diva holds, which is derived from the performance aspect. She is seen as an icon for challenging gender norms and specifically pushing boundaries for sexuality. Leonardi describes that while her content is mostly heteronormative, “her primary interest passion is the female body” (Leonardi 210). She holds complete control over her body and verbalization of female sexuality – which has been historically taken away from women. This can be related back to the hysteric and the oppressive misconception of female sensuality. She strives for exaggeration to make the audience uncomfortable. Specifically, “‘The Blond Ambition tour abandoned the carefully constructed ‘womanist’ promotion of women strong enough to cope with men, and it unleashed the queen of gender disorder and racial deconstruction who is so disturbing to white feminists and white heterosexual men” (219). Madonna unapologetically takes up space and demands to be heard. Because of certain privileged identities she holds, Madonna is described as a “chameleon” (213). She exploits stereotypes and appropriates culture through her status as a diva. For example, voguing is credited to Madonna when in reality it originated in queer communities of color. Throughout her