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• W4386494310 abstract "Queer nightlife serves as a vital entrance to much of queer culture and provides locations for queer people to explore their identities and to learn how to behave and perform as queer people. Queer nightlife has, for me, been a source of inspiration, information, and community, especially given that I moved to a large city during the COVID-19 pandemic, making queer nightlife one of the few (and limited) ways I was able to meet other queer folk. As a queer trans woman married to an asexual cis woman, I have many mixed feelings toward queer nightlife, the discussions that surround the performance of queerness, and the exclusion of many queer bodies from many popular gay and lesbian bars and nightclubs. I have recently been more hesitant to frequent much of the local popular queer nightlife due to the overwhelming amount of racial capital and behavior performance expectations often placed on queer bodies.It is from this position, and with these thoughts, that I set out to review Queer Nightlife, a twenty-five-chapter book edited by Kemi Adeyemi, Kareem Khubchandani, and Ramón Rivera-Servera. Adeyemi, Khubchandani, and Rivera-Servera assert that Queer Nightlife speaks to many of the experiences, identities, and hardships that queer folk face in many cultures and many countries. Queer Nightlife is organized into four easily navigable sections: “Before,” “Inside,” “Show,” and “After.” These four sections are meant to represent the stages of queer nightlife from preparing for a night out (“Before”), negotiating identities in queer communities and clubs (“Inside”), performing queerness on and off the stage (“Show”), and in the spaces where queerness exists after nightclubs and bars have closed (“After”).In the first section of Queer Nightlife, “Before,” the focus centers the experiences and labor of queer folk as they prepare for a night out. This section illustrates many of the ongoing discussions around what queer folk can/are expected to wear, some of the political issues surrounding who counts as queer and where they count as queer, where queer folks can experience community, and exclusion in queer spaces based race, gender, and body type. For example, in the essay “Jockstraps and Crop Tops,” Caleb Luna presents a conversation on the politics of clothing choices and compulsory “thinness” that marks many queer spaces and the performance of masculinity and femininity in gay bars. And AB Brown's essay, “Relational Generativity in South African Queer Nightlife,” challenges the concept of generational queer spaces and the exclusionary nature of many queer establishments toward older queer folks.In “Inside,” the conversation turns toward centering the experiences of queer folks as they seek entrance to queer spaces, control who is allowed in those spaces, and as queer interlocutors regulate the aesthetic and queer performance of each other queer nightclubs and bars. These essays emphasize how queer identities are crafted and maintained through interaction with, and policing from, other queer folk, and how such regulation inside of queer nightclubs and bars serve to hinder and exclude many queer folks. One example of this is Sabia McCoy-Torres's essay, “Queering Dancehall in the Diaspora,” in which they emphasize some of the ways that music calls forth certain aesthetics and performances of the body and enforces embodied assumptions of gendered movements and sexuality in queer spaces. Meanwhile, in their essay, “After Closing Time,” Clare Frostie discusses the dominating role of white butch lesbians and the unequal power between them and the marginalized femmes and transmasculine folk who share queer spaces.“Show,” the third section of Queer Nightlife, focuses in on the importance of performing queerness “on a stage,” including catwalks in clubs and aisles in a Walmart. This section focuses on the geographies of performance and queer space, and how colonialism, tradition, and privilege can be negotiated/resisted through dance and choreographed performances of sexuality and gender. As is seen in Matthew Leslie Santana essay, “Una Peña en Párraga,” one instance of resistance is that of drag kings in Cuba, where styles of dance and performances of sexuality are being rechoreographed in the home and performed in queer nightclubs as a challenge to contemporary Havana night-culture. Moreover, Noé López's essay, “Muxes Have Crossed the Border,” expands the idea of dance to that of a resistance of ongoing colonialism and asserts that dance as resistance requires queer diasporic Indigenous cultures and queer Indigenous migrations.Finally, in “After,” the conversation on queer nightlife as a specific space and place becomes troubled as the essays highlight what happens as queer nightlife bleeds into everyday life and politics. The essay's in this section focuses heavily on how queer folks form communities during the daylight and how queer folks navigate the loss of queer space when clubs and bars are shut down for good. In Enzo E. Vasquez Toral's essay, “From the Club to the Fiesta,” we see a discussion on the movement of crossdressers from clubs and bars to fiesta's and folklore performances as a challenge to heterosexual and cis manifestations of masculinity, femininity, and the performance of gender in public spaces. And in E. Patrick Johnson's memoir, “Remember the Time,” we are given a vision of the closing of well-known queer bars along with a promise of new locations for queer performance and community and reclaim spaces and terms which are often used to oppress them.Although the essays in the book are meant for academic consumption, they are written in an easily consumable format, perfect for students new to queer studies, queer-of-color studies, and/or critical performance studies. The book uses performance as a method, optic, and an object, one which centers the performance of queerness and the performances of race, privilege, and community as queer people engage in movements in nightclubs, bars, and other queer night spaces (3). Adeyemi, Khubchandani, and Rivera-Servera also center queer-of-color criticism as the analytical framework for the book as they consider how governance, politics, and power mark queer and nonnormative bodies as “subject to scrutiny and violence” and positions queer bodies and queer POCs as capital (5).Queer nightlife allows us to see how racial capitalism has determined the value of bodies and shaped the performance of intimacy, eroticism, and desire that originates from them (5). Racial capitalism places value on all bodies, but especially queer POCs, and places whiteness as a source of power and desirability whereas all others are cast as feminine, weak, submissive, or undesirable. Many queer bars, nightclubs, and other queer spaces use racial capitalism in restricting who can perform queerness and how they can perform queerness, such as who can be dominant or submissive, who can be considered gay or lesbian, etc., in each space based solely on their race. This systemic racism and the essentialization of certain forms of queerness based on racial prerequisites has led to a change in the geographies of queer nightlife and the locations of queer communities due to “us” verses “them” exclusivity (136). Although queer nightlife actively occurs in nightclubs, bars, and side alleys as much now as ever, not all queer folk feel welcome in these venues, and so queer nightlife has taken up residence in many novel locations. From queer-welcoming straight bars to women's night at otherwise unfriendly clubs to twenty-four-hour cafes and relaxed and disabled-friendly backyard hangouts, the geographies of queer nightlife are evolving out of the very prevalent needs of the excluded (6).Adeyemi, Khubchandani, and Rivera-Servera claim that not only are the physical geographies of queer nightlife evolving or adapting, but also that the repertoires of performance “sexiness, humor, glamour” are adapting to appeal to new audiences and new members (14). Black drag kings are pushing back against white normativity and rechoreographing masculinity of rumba and reggaeton in their own living rooms. The Black/white and old/new queer binaries have complicated what it means to be queer and to perform queerness in the night and are changing the aesthetic qualities of queer nightlife that help to define and interpret how queer people should behave externally and feel internally (12). Complicating the dynamics of race and geography requires not only attention, but also careful engagement with the movement of queer bodies in politics and governance.Adeyemi, Khubchandani, and Rivera-Servera argue that the ongoing gentrification, for example, of previously queer locations has forced queer geographies to change and adapt. Gentrification has led to limits on where queer folk can meet and led to the removal or renovation of queer spaces, disrupted the memory-making and history of queer folk who frequented those establishments (132). By removing the physical locations where queer folk meet and where queer culture is/was formed (such as Sisters, a lesbian bar in Portland, Maine, now demolished), many queer folks are forced to utilize more private venues, such as their own backyards, as queer locations, and as cultural centers. Because of the ongoing movement of queer folk in nightclubs, bars, and other nightlife, it becomes vitally important to unpack the intersections of race, queerness, and the politics of geography and movement.Adeyemi, Khubchandani, and Rivera-Servera's edited book Queer Nightlife contributes a useful catalogue of experiences of gay, lesbian, and trans folk and the struggles many queer people experience both from outside the queer community, and from within it. In particular, the authors do an excellent job positioning queer of colour criticism and performance in this work and unpack many of the ways that movements of queer bodies through physical locations serves to craft much of queer identity. Despite the wide range of queer representation in this book, the focus seems to exclude many members of the queer community and their experiences. In particular, for being an edited book with numerous stories, perspectives, and experiences, the book seemed to focus solely on gay, lesbian, and trans individuals, and excluded discussions on asexual folks, demisexual folks, nonbinary folks, and many other queer folks who also frequent queer nightlife. I believe that this was an oversight by the editors, and aids in silencing the voices of many queer individuals who experience queer nightlife and could add to any text which asserts that it covers queer experiences in many cultures and countries. Further discussion of queerness, queer identities, queer nightlife, and the movement of queer folks would greatly aid Adeyemi, Khubchandani, and Rivera-Servera's book in the context of ongoing globalization and the ongoing formation of global queer communities." @default.
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• W4386494310 title "Queer Nightlife" @default.
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