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A drag performance that seemed to parody the Eucharist in the opening ceremony of the 2024 Olympic Games in Paris led to vehement protests by a variety of Christian leaders and institutions. By contrast, this paper argues that drag performances, understood as a playful exploration of possible identities, sheds refreshing light on Christian identity as it is constituted performatively and ritually. In particular, the subversive dimensions of such Christian identity can be appreciated more emphatically when viewing them through the lens of drag.
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