DIVAS: PERFORMING RACE, GENDER, AND SEXUALITY

Course #: E 389P, TD 387D, AFR 387D, MAS 392

Unique #: 35620, 26680, 30360, 36125

Day & Time: Wed 11-2pm

Professor: Deborah Paredez
Email: paredez@mail.utexas.edu

Location: DFA 4.104

Office Hours: Wed 2:30-4:30pm
Office location: PAR 224

COURSE DESCRIPTION
What makes a diva a diva? How are our ideas about performance, spectatorship,
space, and capital shaped by the diva figure? This course explores the central role
of the divathe celebrated, iconic, and supremely skilled female performerin the
shaping and re-imagining of racial, gendered, sexual, national, temporal, and
aesthetic categories. Students in this course will theorize the cultural function and
constitutive aspects of the diva and will analyze particular performances of a range
of divas from the 20th and 21st centuries.
Required Texts (available at Monkey Wrench Books, 110 E North Loop, 407-6925,
monkeywrenchbooks.org, and on reserve at the Fine Arts Library)
Gamson, Joshua. The Fabulous Sylvester: The Legend, the Music, the Seventies in
San Francisco
Koestenbaum, Wayne. The Queen's Throat: Opera, Homosexuality, and the
Mystery of Desire
Leonardi, Susan & Rebecca Pope. The Diva's Mouth: Body, Voice, and Prima
Donna Politics
Required Readings Uploaded on Blackboard:
Alexander, Elizabeth. "Diva Studies: A Verse Play: An Excerpt." Callaloo 19.2
(1996): 475-492.
Anger, Kenneth. "Chop Suicide." Hollywood Babylon. San Francisco: Straight
Arrow Books, 1975. 230-239.
Aparicio, Frances R. and Wilson A. Valentn-Escobar. "Memorializing La Lupe and
Lavoe: Singing Vulgarity, Transnationalism, and Gender." Centro Journal
16.2 (2004): 78-101.
Berlant, Lauren. "The Queen of America Goes to Washington City: Notes on Diva
Citizenship." The Queen of American Goes to Washington City: Essays on
Sex and Citizenship. Durham & London: Duke University Press, 1997. 221245.
Brooks, Daphne A. "'All That You Cant Leave Behind': Black Female Soul Singing
and the Politics of Surrogation in the Age of Catastrophe." Meridians:
Feminism, Race, Transnationalism 8.1 (2007): 180-204
Brooks, Daphne A. "Suga' Mama, Politicized." Nation, 30 November 2006.
Dolan, Jill. "Introduction: A Certain Kind of Successful." A Menopausal Gentleman:
The Solo Performances of Peggy Shaw. Ed. Jill Dolan. Ann Arbor: University
of Michigan Press, 2011. 1-38.

Doty, Alexander. "Introduction: There's Something About Mary." Camera Obscura

22.2 (2007): 1-8.
Doty, Alexander. "Introduction: The Good, The Bad, and the Fabulous; or The Diva
Issue Strikes Back." Camera Obscura 23.1 (2008): 1-9.
Dyer, Richard. "Judy Garland and Gay Men." Heavenly Bodies: Film Stars and
Society. New York & London: Routledge, 2004. 2nd Ed. 137-191.
Farmer, Brett. "The Fabulous Sublimity of Gay Diva Worship." Camera Obscura
20.2 (2005): 164-194.
Francis, Terri. "Embodied Fictions, Melancholy Migrations: Josephine Baker's
Cinematic Celebrity." Modern Fiction Studies 51.4 (2005): 824-845.
Fregoso, Rosa Linda. "Lupe Velez: Queen of the B's." From Bananas to Buttocks:
The Latina Body in Popular Film and Culture. Ed. Myra Mendible. Austin:
University of Texas Press, 2007. 51-68.
Gross, Michael Joseph. "The Queen is Dead." Atlantic Monthly 286.2 (2000): 62-8.
Jordan, A. Van. "Time Reviews the Ziegfeld Follies Featuring Josephine Baker,
1936." Macnolia: Poems. New York: Norton, 2004.
Keeling, Kara. "'Ghetto Heaven': Set it Off and the Valorization of Black Lesbian
Butch-Femme Sociality." The Black Scholar 33.1 (2003): 33-46.
McLean, Adrienne L. "Feeling and the Filmed Body: Judy Garland and the Kinesics
of Suffering." Film Quarterly 55.3 (2002): 2-15
Mizejewski, Linda. "Queen Latifah, unruly women, and the bodies of romantic
comedy." Genders 46 (Dec 2007): NA.
Nericcio, William A. "Lupe Vlez Regurgitated: Cautionary, Indigestion-Causing
Ruminations on 'Mexicans' in 'American' Toilets Perpetrated While
Covetously Screening Veronica." From Bananas to Buttocks: The Latina
Body in Popular Film and Culture. Ed. Myra Mendible. Austin: University of
Texas Press, 2007. 69-92.
Paredez, Deborah. "Blue and Full of Stars." Mandorla: New Writing from the
Americas 14 (2011).
_____. Mouth-Piece of a Movement: Lena Horne's Diva Citizenship." Unpublished
article.
_____. "'Queer for Uncle Sam': Anita's Diva Turn(s) in West Side Story."
Unpublished article.
Pelligrini, Ann. "Unnatural Affinities: Me and Judy at the Lesbian Bar." Camera
Obscura 22.2 (2007): 127-133.
Plunket, Robert. "Farewell, Judy; Hello, Madonna." New York Times, 19 June 1994.
23.
Roberts, Robin. "Ladies First: Queen Latifah's Afrocentric Feminist Video." African
American Review 28.2 (1994): 245-257.
Scheper, Jeanne. "'Of la Baker, I Am a Disciple': The Diva Politics of Reception."
Camera Obscura 22.2 (2007): 72-101.
Shaw, Peggy. Menopausal Gentleman. A Menopausal Gentleman: The Solo
Performances of Peggy Shaw. Ed. Jill Dolan. Ann Arbor: University of
Michigan Press, 2011. 71-96.

Vogel, Shane. "Lena Hornes Impersona." Camera Obscura 23.1 (2008): 10-45.
Williams, Megan E. "'Meet the Real Lena Horne': Representations of Lena Horne in
Ebony Magazine, 1945-1949." Journal of American Studies 43.1 (2009):
117-130.
Wolf, Stacy. "Wicked Divas, Musical Theater, and Internet Girl Fans." Camera
Obscura 22.2 (2007): 38-71.
Video and Audio Recordings on Reserve at the Fine Arts Library
Princess Tam Tam
West Side Story
The Best of Judy Garland from MGM Classic Films [CD]
Rufus Does Judy Live at the London Palladium
An Evening with Lena Horne
Stormy Weather
Mexican Spitfire
La Lupe: Queen of Latin Soul
Set It Off
Required Performance
Ms. Jomama Jones, details TBA
Course Expectations and Assignments
Engagement & Participation
My first expectation is that you will attend every session; graduate students should
never miss class meetings and should always be on time. Ill expect that youll do
the reading closely, coming to class prepared with discussion questions and ways
to engage the material. Preliminary questions that may guide your reading include:
What is/are the authors overall claim(s)? How does she go about making her
argument? What is his evidence and with what methods (how) does he treat it?
Within what theoretical school or discipline is she working? What does this
particular reading and/or performance suggest about the essence and effects of the
diva figure? What new insights about sexuality, gender, race, spectatorship, or
performance are revealed by this particular diva? I expect active, enthusiastic
participation and generous collaboration in class discussions and activities.
This class relies on Blackboard for communicating about syllabus updates or
assignment details. To get to Blackboard, go to http://courses.utexas.edu/. Click on
E 389P to enter the Blackboard site for this class.
In addition to regular attendance and active participation, there are THREE
ASSIGNMENTS required for this course:
1) Creative Response
2) Performance Analysis

25%
25%

3) Final Project
a. Abstract
b. Presentation component
c. Written component

50%
10%
10%
30%

1) Creative Response
DUE: During the second week of class, each student will sign up for a day to share
their response.
A response to the performance/music/play/dance/style that is in a form other than a
written analysis. This could be visual art: a collage, a drawing, a painting;
sculpture or a "prop" or tool or machine; music or sound; food; movement, gesture,
or dance; or another written form: poetry, for example. The purpose of this
approach is to encourage a different, perhaps more intuitive response to and
analysis of the performance. Also, please include a short (1-2 page typed, doublespaced) explanation of your response.
2) Performance Analysis
DUE: On the day we discuss the performance you are analyzing.
A 2-3-page, typed, double-spaced paper (around 500-750 words) in which you
offer your own original interpretation of a diva performance studied this semester.
Your essay should begin with Observation: What do you read or see or hear or
feel? Then expand to Analysis: How does this observation connect to other
elements of the performance or cultural artifact or create a pattern? And finally
move to: Interpretation: What is significant about this observation? What does it
mean? How does it contribute to the total meaning of the performance or cultural
product?
NOTE: The Creative Response and Performance Analysis must respond to two
DIFFERENT topics studied this semester. (For example, you cannot do more than
one of these assignments in response to the readings about and performances by
Judy Garland, etc.).
3) Final Project
The final project is comprised of the following steps:
1) Abstract Draft (1 single-spaced page)
DUE: 17 Oct
2) Presentation/Performance (7-10 min)
DUE: VARIES
3) Written Critical Analysis (10-15 pp)
DUE: Wed 7 Dec
This project provides each seminar participant the opportunity to critically
investigate a diva. The project includes both an oral and written component. The
oral component can take the form of a brief scholarly presentation, an original
performance, an art installation, or an interactive workshop. The written
component will take the form of a critical analysis that can include a close reading
of a diva performance, a theoretical exploration of the cultural function of the diva
figure, or a historical research paper about a particular diva.

Take care in crafting your arguments. Take creative risks. Take pleasure in the
process.
Other Important Announcements
The University of Texas at Austin provides upon request appropriate academic
accommodations for qualified students with disabilities. For more information,
contact the Office of the Dean of Students at 471-6259, 471-4641 TTY.
NO INCOMPLETES! There's enough lack of closure in graduate school already.
Course Schedule
(B) = Blackboard
(R) = On Reserve
Week 1
24 Aug

Introduction to course
IN-CLASS READING: Alexander, excerpt from Diva Studies
[download from Blackboard and print out copy to bring to class]
IN-CLASS VIEWING: Patti LaBelle:
http://www.youtube.com/watch?v=8ZmFbMoJXIQ
http://www.youtube.com/watch?v=SydDdAmTo0c

Week 2
31 Aug

Week 3
7 Sep

Week 4
14 Sep

Diva Introductions & Origins

READ: Koestenbaum, Queen's Throat, pp1-45, 84-133; Leonardi &
Pope, Diva's Mouth, pp1-47, 228-245; Doty, "Something About
Mary" (B) & "The Good, the Bad" (B); Berlant, "The Queen of
America" (B)
Diva Worship
READ: Koestenbaum, Queen's Throat, 46-83, 134-175; Farmer,
"Fabulous Sublimity" (B); Wolf, "Wicked Divas" (B)
IN-CLASS VIEWING: clips of Pina Bausch in Talk to Her, clips from
Philadelphia
Dancing Divas: Josephine Baker & Rita Moreno
READ: Francis, "Embodied Fictions" (B); Scheper, "Of La Baker" (B);
articles by Jefferson, Kraut, Brooks, Raynaud from S & F Online:
http://www.barnard.edu/sfonline/baker/; Paredez, "'Queer for
Uncle Sam'" (B); Jordan, "Time Reviews"

VIEW: Princess Tam Tam (R); West Side Story (R)

SPECIAL GUEST: LYRAE VAN CLIEF-STEFANON [POET]
Creative Response: Devon, Chuyun
Performance Analysis: Ali, Sophie
Food: Abimbola, Meg
Week 5
21 Sep

Week 6
28 Sep

Week 7
5 Oct

Week 8
12 Oct

Screen Diva: Judy Garland

READ: McLean, "Feeling and the Filmed Body" (B); Dyer, "Judy
Garland and Gay Men" (B); Pelligrini, "Unnatural Affinities" (B);
Gross, "Queen is Dead" (B)
VIEW: Rufus Does Judy Live at the London Palladium
LISTEN: The Best of Judy
Creative Response: Katelyn, Anne, Taylor
Performance Analysis: Lily
Food: Chuyun, Amy
Aloof Diva: Lena Horne
READ: Williams, "Meet the Real Lena Horne" (B); Vogel, "Lena
Horne's Impersona" (B); Paredez, "'Day In, Day Out'" (B)
VIEW: An Evening with Lena Horne; Stormy Weather
IN-CLASS VIEWING: Lena Horne on The Judy Garland Show
Creative Response: Abimbola, Carla
Performance Analysis: Amy, Katelyn
Food: Lily, Rudy
"Latin" Divas: Lupe Velez & La Lupe
READ: Anger, "Chop Suicide" (B); Fregoso, "Queen of the B's" (B);
Nericcio, "Lupe Velez Regurgitated" (B); Paredez, "Blue and Full of
Stars" (B); Aparcio & Valentn, "Memorializing La Lupe" (B)
VIEW: Mexican Spitfire (R); La Lupe: Queen of Latin Soul (R)
http://www.youtube.com/watch?v=pr8NkU4e5qU
http://www.youtube.com/watch?v=tQ-eNgcv0PQ&feature=related
Creative Response: Amy, Rudy, Rose
Performance Analysis: Meg, Yvette, Carla
Food: Natasha, Taylor
Fabulous Diva: Sylvester
READ: Gamson, Fabulous Sylvester
Creative Response: Sophie, Meg
Performance Analysis: Natasha, Devon, Kenji
Food: Anne, Yvette

*MONDAY 17 OCTOBER: ABSTRACT DRAFT DUE [upload to Blackboard]

Week 9
19 Oct
Week 10
26 Oct

Week 11
2 Nov

ABSTRACT PEER WORKSHOP

"Butch" Divas: Peggy Shaw & Queen Latifah
READ: Dolan, "Introduction" (B); Shaw, Menopausal Gentleman (B);
Keeling, "Ghetto Heaven" (C); Roberts, "Ladies First" (B); Mizejewski,
"Queen Latifah, Unruly Women" (B)
VIEW: Set It Off (R)
http://www.youtube.com/watch?v=xCR1akhEfvQ
http://hidvl.nyu.edu/video/000515761.html
IN-CLASS VIEWING: scenes from Chicago
Creative Response: Ali, Lily, Natasha
Performance Analysis: Anne, Abimbola, Rudy
Food: Rose, [student who is auditing]
Pop Divas: Madonna, Beyonce, Lady Gaga
READ: Pope & Leonardi, Diva's Mouth pp205-227; Plunket,
"Farewell Judy" (B); Brooks, "Suga' Mama" (B) and "All that You Can't
Leave Behind" (B); article by Francis from
http://www.barnard.edu/sfonline/baker/
VIEW: Madonna:
http://www.youtube.com/watch?v=AFiwFKDyp8A
http://www.youtube.com/watch?v=blVSU7AhVP0
http://www.youtube.com/watch?v=_CQHIP-38jA
http://www.youtube.com/watch?v=GuJQSAiODqI&ob=av2n
http://www.youtube.com/watch?v=66-FaDp8hV4&feature=fvsr
Beyonce:
http://www.youtube.com/watch?v=4m1EFMoRFvY
http://www.youtube.com/watch?v=I0Rjc7HSt0E
http://www.youtube.com/watch?v=SXnQ0--XG18
Lady Gaga:
http://www.youtube.com/watch?v=EVBsypHzF3U
http://www.youtube.com/watch?v=3oer9-WSJHc
Creative Response: Yvette, Kenji
Performance Analysis: Taylor, Chuyun, Rose
Food: Ali, Kenji

Week 12

9 Nov

SPECIAL GUEST: JOMAMA JONES [details TBA]

FINAL PRESENTATIONS/PERFORMANCES

Week 13
16 Nov

FINAL PRESENTATIONS/PERFORMANCES

Week 14
23 Nov

THANKSGIVING HOLIDAY NO CLASS

Week 15
30 Nov

FINAL PRESENTATIONS/PERFORMANCES