Excerpt
TABLE OF CONTENTS
1. INTRODUCTION
2. THE ROOTS OF VOGUING – FAGGOTS' BALLS
3. INTERSECTIONALITY AND THE VAST INEQUALITIES OF A WHITE MAN’S NATION
3.1. RACE AND CLASS
3.2. THE MASCULINE POWER STRUGGLE AND THE THREAT OF SUBVERSION
3.3. HETERONORMATIVITY’S RULE
3.4. A TIME OF CRISIS – HIV/AIDS AND THE CYCLICAL RE- INFORCEMENT OF EJECTION
3.5. CHURCH, MORALITY AND FAMILY REJECTION
4. A CHANGING BALLROOM CULTURE – THE LINK BE- TWEEN PERFORMATIVE REALNESS AND VOGUING
4.1. THE ALTERNATIVE PROJECT – THE ORGANISATION OF HOUSES AS POSTMODERN FAMILIES
4.2. POSTMODERN FAMILIES – GENESIS AND FUNCTION OF HOUSES IN BALLROOM COMPETITIONS
5. VOGUING – A BODY OF CONTEST
5.1. DEEP IN VOGUE – WILLI NINJA, MALCOLM MCLAREN AND FIRST STEPS INTO THE MAINSTREAM
6. CONTEXTUALISING MADONNA AND CRITIQUE ON HER WORK
6.1. NOT QUITE LIKE A VIRGIN – MADONNA’S AMBIGUOUS PLAY ON GENDER IDENTITY
6.2. PRE-VOGUE – MADONNA’S COMMENT ON RACE AND RELIGION
6.3. MADONNA IN VOGUE
6.4. THE VOGUE MUSIC VIDEO – ECHOES OF THE BALL- ROOM SCENE
6.5. THE COUNTER-LOOK – A STRATEGY OF EMPOWER- MENT
6.6. THE INTERPLAY OF IMAGE AND SONG LYRICS – THE PROCLAMATION TO VOGUE
6.7. STRIKE A POSE – MADONNA’S DANCERS LOOK BACK
7. CONCLUSION
8. Works Cited
- Quote paper
- Dominic Junkes (Author), 2017, Express Yourself. Voguing as a Form of Sociocultural Protest, Munich, GRIN Verlag, https://www.grin.com/document/387850
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