Abstract

Each of the eight movements of Johnson’s performance reflects a different aspect of his identity around which his queerness pivots. The movements range from drag to black masculinity to how Johnson negotiated race, gender, and sexuality in Ghana. Johnson’s performance—utilizing slides, music, voice-overs, and dance— encouraged audience participation.

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Additional Information

ISSN
1531-4715
Print ISSN
1054-2043
Pages
pp. 88-116
Launched on MUSE
2003-06-03
Open Access
No
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