La Cueva Night Club: a look into drag performance and gender

Bial, Henry. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." The Performance Studies Reader. London: Routledge, 2004. 154-66. Print. Hillman, Betty Luther. ""The Most Profoundly Revolutionary Act a Homosexual Can Engage In": Drag and the Politics of Gender Presentation in the San Francisco Gay Liberation Movement, 1964–1972." Journal of the History of Sexuality 20.1 (2011): 153-81. JSTOR. Web. 01 May 2016. Niles, Richard. "Wigs, Laughter, and Subversion." Journal of Homosexuality46.3-4 (2004): 35-53. Web. Hankins, Sara. "Signs." "I'm a Cross between a Clown, a Stripper, and a Streetwalker": Drag Tipping, Sex Work, and a Queer Sociosexual Economy: : Journal of Women in Culture and Society: Vol 40, No 2. The University of Chicago Press Journals, 2015. Web. 15 Apr. 2016. Bakshi, Sandeep. "A Comparative Analysis of Hijras and Drag Queens: The Subversive Possibilities and Limits of Parading Effeminacy and Negotiating Masculinity." Academia.edu. University of Rouen, 1 Feb. 2004. Web. 01 May 2016. Underwood, Lisa, 1968-, and Steven P Schacht. The Drag Queen Anthology: the Absolutely Fabulous but Flawless Customary World of Female Impersonators. New York: Harrington Park Press, 2004. Kennison, Rebecca. "Clothes Make the (Wo)man: Marlene Dietrich and "Double Drag"" Academia.edu. The Haworth Press, Inc, 1 June 2002. Web. 16 Apr. 2016. Lyderson, Kari. "La Cueva: The Oldest Latino Drag Club in the Country Has Done Much to Change Attitudes in Chicago's Mexican Community." - Colorlines Magazine. Colorlines, 1 July 2006. Web. 22 Apr. 2016. Moreman, Shane T., and Dawn Marie McIntosh. "Brown Scriptings And Rescriptings: A Critical Performance Ethnography Of Latina Drag Queens."Communication & Critical/Cultural Studies 7.2 (2010): 115-135. Communication & Mass Media Complete. Web. 1 May 2016. Rhyne, Ragan. "Racializing White Drag." Journal Of Homosexuality 46.3/4 (2004): 181-194. LGBT Life with Full Text. Web. 1 May 2016. White, Rachel R. "Hanging on by a Sequin.” Gapers Block. Unknown, 1 Feb. 2011. Web. 25 April 2016. Orozco, Gisela. "Darán El último Adiós a 'Miss Ketty'" Vivelohoy. Vivelo Hoy, 21 Sept. 2011. Web. 25 Apr. 2016. Obejas, Achy. "Juanga Forever." TriQuarterly. TriQuarterly, 5 July 2010. Web. 25 Apr. 2016.

In queer and trans studies, the topic of drag performance may turn up searches of Judith Butler who is most recognized for her ‘drag as performance’ theory in which Butler argues that gender is a series of repeated acts, rather than innately true. Many trans activists have criticized Butler’s theory stating that it undermines and dismisses their transgender identity and experience. However, in my research I am interested in finding a more comprehensive understanding of gender through drag performance as it relates to other intersecting factors. As we have learned in the course, there are other social locations that influence and ultimately shape our understanding of gender. Social, economic and political institutions work together to enforce, silence, erase or punish certain genders, gender expression, and gender representation. However, the construction of gender does not only exist in a binary of woman and man. As we saw in Thailand’s gender variant cultures, gender is crafted alongside sexuality and gender expression and produces a series of gender-sexual-expression identities. In the U.S. and particularly in Mexican migrant culture, gender, too is shaped based on a combination of past and present experience (time).   

Many drag performers at La Cueva are also trans latinas. There are trends in their narratives: unemployment, sex work and high risk of health concerns and complications.   Resources: White, Rachel R. "Hanging on by a Sequin.” Gapers Block. Unknown, 1 Feb. 2011. Web. 25 April 2016.  http://gapersblock.com/ac/2011/02/17/hanging-on-by-a-sequin/ Fitzgerald, Patterson, Hickey, Biko & Tobin. "Meaningful Work: Transgender Experience In the Sex Trade.” 2015. Red Umbrella Project, Best Practice Policy Project, National Center for Transgender Equality. http://www.transequality.org/sites/default/files/Meaningful%20Work-Full%20Report_FINAL_3.pdf

In Susan Stryker’s, (De)subjugated Knowledges: An Introduction to Transgender Studies, Stryker defends Judith Butler’s theory on gender performance and states, “To say that gender is a performative act is to say that it does not need  a material referent to be meaningful, is directed at others in an attempt to communicate, is not subject to falsification or verification, and is accomplished by “doing” something rather than “being” something.” In other words, gender is performed through a series of (repeated) acts. Butler argues that one is not born a gender and then performs the part of that gender. Consequently, many trans activists have criticized Butler stating that this theory erases their relation to gender and discredits their experience with transphobia. In our interview, Marcela believes that the little girl who asked “are you a boy or a girl” identified Marcela’s physical traits with that of a female-body, a woman. However, in her performance as a masculine-presenting woman, Marcela may have confused the young girl, who was ultimately compelled to pose the question. Whether Marcela’s performative gender influenced the young girl or if Marcela’s physical identification with womanhood was perceived despite her performative gender is still a question.

Like many of my classmates have stated, I too came into the class knowing very little about the trans community, and even less about trans studies. I believed, however, that my own experience within progressive social justices spaces might be able to inform my understanding of the subject. Sexuality, race, socioeconomic, and immigration status all influence our understanding of gender. Needless to say, there is so much uncharted space that has yet to be discussed, theorized and analyzed through the perspective of trans studies. It was great to be able to learn of how gender non conforming cultures and people exist and are incorporated (or not) in other communities around the world. Although trans studies and trans identity exists in the context of the U.S., understanding gender non-conforming communities in other parts of the world may allow us to think more critically of the history and interpretation of gender. It seems that because we focus so much on language and the creation of identity, the history of previous (and especially non-Western) (queer) peoples is lost or erased, as was the case with Sylvia River and Jose Sierra in Tim Retzloff’s “Eliding trans Latino/a queer experience in US LGBT History: José Sarria and Sylvia Rivera reexamined.” Another area that I am interested in continuing to learn about are the two spirit society, and the Toms, Zees and Dees in Thailand. As I continue my blog project on the creation and interpretation of drag performance at La Cueva, one of the oldest gay night clubs in the U.S., I am paying close attention to the role language plays as well as the use of terminology in the context of particular spaces. Spanish is the primary language spoken in the nightclub, by the performers and audience members alike as well as the neighborhood in which it is established. Similarly, Two Spirit Societies are built on the cultural context of indigenous and Native American peoples, while Toms, Zees and Dees refer to the gender and sexuality of particular groups in Thailand.  As we move forward, I would like to research more on the trans and gender non conforming communities in Mexico, both in modern urban areas as well as preserved cultures in indigenous societies and how that has translated into cultural practices and understanding within migrant Mexican communities in the U.S. 

Martinez, Lulú. “Laura Leon at La Cueva Night Club, Chicago Illinois.” 2016. JPEG file. Both Juan Gabriel and Laura Leon are two personajes (personalities), that are performed at La Cueva Night Club. Each artist represents two distinct music genres; Juan Gabriel is regularly known to perform mariachi, ranchera and latin pop music while Lorena Leon is known more for her cumbia and latin pop, although different from that of Juan Gabriel’s pop hits. Laura Leon is said to have been in a relationship with a pornography director, however, it is uncertain if their relationship may have influenced her hyper-sexualized body as it is portrayed on the cover of her music albums. As seen above, her curves and and breasts are emphasized, as is also the case in drag performance. Beyond genitalia, a woman’s breasts, curves and butt are the most sexualized body parts connected to their gender. These feminine ‘cues’ are what allow a drag queen performer to have a (successful) interpretation of her gender and sexuality. Audience members can look to the performer’s hand gestures, makeup, hairdo, and wardrobe for additional supporting traits. I question however, if it is the gender representation or the portrayed personaje. who are accepted simultaneously or if one is accepted first and therefore the other. If these gender acceptances do not happen simultaneously, which one is necessary to set precedence for the other? Similarly, Juan Gabriel’s gender and sexuality is represented through cues in his own performance. Recently, I viewed a video of his performance on the Latino Billboard Awards. His mannerisms could be identified as flamboyant, as is his fashion style. As pictured above, he often performs with sequent blazers, sometimes in pastel colors and a silk scarf to accent the outfit. Juanga, as he is often referred to, is soft spoken and cheerful. He is very expressive in his artistic role, and it is precisely this expression that allows his fans and audience to easily identify him as a feminine, and consequently, gay icon. It can best be summarized in a quotation taken from an interview in the Spanish TV-news show, Primer Impacto that made headline news. When asked about his sexuality, Juanga replies, “Dicen que lo que se ve no se pregunta, m’ijo.” (They say that was is seen is not questioned/asked, my son.) The term, “m’ijo” is the abbreviated version of “mi hijo” meaning my son, which holds a working class status. It is used to refer to the person with whom you are speaking. M’ija is the female counterpart. I’ve come to understand this quotation in two different ways. First, if something is obvious, and therefore has been accepted, or is considered irrelevant, then you do not ask out of respect for that person. On the other hand, if you already know something to be true, you simply don’t ask, and avoid coming off as disrespectful. This is important to consider because Juanga is one of the most influential music icons in Mexico, and has been for the past four decades. His femininity is explicit; it is in his music, in his expressions, wardrobe and mannerisms. However, it is precisely this femininity, which I argue, that has almost completely divorced him from his masculinity, that has allowed him to form part of the most revered group of respected and adored artists in Mexico. His gender expression is accepted because it is intertwined with his sexuality, and this gender-sexuality combination falls within the feminine (gender) - attraction to men (sexuality) that does not undermine the binary by which heteronormative Mexicans, and in this context, Mexican migrants in Little Village abide. However, Laura Leon and Juan Gabriel differ beyond sexual and gender expression. Their relationship to respectability politics is also a significant trait, and one, that I argue, is not expressed at La Cueva. Jose Sarria, activist during the Stonewall Riots adhered to a more middle-class portrayal of gay sexuality. Similar to Sarria, Juanga’s music, although accessible and created for both middle and working class audiences, is still interpreted to belong to a respectable, stereotypically flamboyant/feminine queer icon. Laura Leon, on the other hand, is representative of what Miss Ketty unapologetically believed La Cueva to be, a space full of sexual energy. During their performances at La Cueva, however, there is no room for respectability politics. Each performer is unapologetically their respective gender, and sexuality. These are intrinsically connected; they depend on each other, and each performer exploits this accepted knowledge. Resources: "Interview with Juan Gabriel." Primer Impacto. Univision. Miami. 17 Dec. 2010. Television. Video clip can be found here: https://www.facebook.com/CubanoShoutOut/videos/544924368992983/ Retzloff, Tim. "Eliding trans Latino/a queer experience in U.S. LGBT history: Jose Sarria and Sylvia Rivera reexamined." CENTRO Journal 29.1 (2007): 141-161. Print. 

Despite not crediting her contribution and influence at La Cueva, in an interview with Jerry Nunn of Windy City Times, Julio Rodriquez of the Association for Latino Men for Action (ALMA) states, "ALMA gave her the award for being a pioneer in the Latina trans community, because so many people had identified her as someone who helped them get resources, especially because in those days, it was pretty dangerous. She housed a lot of people, she did a lot of HIV/AIDS education informally." As a trans Latina, Miss Ketty recognized the multiple struggles that other trans Latinas faced. Very few employment opportunities existed for im/migrant women, many of whom were also undocumented, however it was even more difficult for trans latinas to secure those jobs. In addition, hormones were only ever available through an underground, illegal market. Medication was inconsistent and scarcely available. Lack of resources posed health concerns for the Latina im/migrant trans community. As a result, scarce healthcare and job opportunities forced many trans latinas into sex work and prostitution. However, Miss Ketty connected many trans latinas to performance venues where they could not only express their gender identity and sexuality, but also have a secure job that allowed them to stay away from more harmful ‘alternatives.’  Resources: http://www.vivelohoy.com/entretenimiento/8032900/daran-el-ultimo-adios-a-%E2%80%98miss-ketty%E2%80%99 http://www.findagrave.com/cgi-bin/fg.cgi?page=pv&GRid=77029720&PIpi=49014921

Gardner, April. Image of Little Village. 2015. Chicago. Little Village & Pilsen Residents Wanted for Planning Opinions. Photograph. 2016.

Plaza, Damian O. Untitled. 2011. Find A Grave, Chicago. Ketty E “Miss Ketty” Teanga Moreira. Photograph. 25 April 2016 Caption:  "Always show class and they will love and respect you always" Quote from Miss Ketty. Ketty E. Teanga Moreira, also known as “Miss Ketty” is recognized as a trail blazer, and influential figure in the nightclubs around the country and among the LGBTQ community.  In an interview with Kari Lydersen published in the Chicago Reader, Miss Ketty (Mar. 22, 1947- Sep. 15, 2011) states, “La Cueva was one of few public places where gay Latinos could feel comfortable being out, but straight men also went there to ogle the transvestites and elaborately costumed transgender performers as they sang, danced, and lip-synched to Mexican and Puerto Rican music.” Miss Ketty was determined to bring a good performance that gay Latinos could connect to in their own neighborhood. As an Ecuadorian immigrant, Teanga was able to connect on a social and political way with the Little Village residents that frequented the revue. Speaking with my partner and her sister, both of whom were raised in Little Village, and whose family has resided in the neighborhood for the last twenty years, I understood that La Cueva was considered a dingy, gay nightclub of which many people spoke ill. Often, one might see a man walk out of the venue with a transwoman, travesti, or as was often identified by the community “another man dressed in women’s clothing.” The two men would therefore be identified as gay. I ask myself, was La Cueva’s status connected to the audience it attracted, and the socio-economic status of the neighborhood in which it was located? According to Achy Obejas, who started frequenting La Cueva in the 80s, “For one thing, there were very few women in the audience. It was a real reflection of the community at the time, because you had an overwhelmingly male immigrant population, men who came from Mexico to work and send money back."  However, it was precisely the fact that there were few gay latino revues with drag performance, that influenced Miss Ketty to search for a venue that might offer an opportunity to create a space for gay latinos in Chicago. 

M., Jackie. La Cueva - Chicago, Illinois, United States. 2015. Yelp.com, Chicago. La Cueva. Photograph. 24 April 2016.

Bergdahl, Esther. The Little Village Arch, 26th and Albany. 2013. Photograph. Magpie & Whale . The city and the city (especially Little Village). Web. 25 April 2016.