Identity In Flux By Jose Munoz Summary

The assigned class readings looked at several instances of “identity in flux” in the views of feminist artist. I would define “identity in flux” as a movement of change within an individual’s identity in order to conform to a desired societal group. On the other hand, it is also a movement of change of identity to conform to an undesired societal group. The “identity in flux” can take many forms; such as, identification, misidentification, and disidentification. In this essay, I will be examining Jose Munoz’s article and the art of Vaginal Davis’ and how she approached this approached disidentfication through her performance art.

Vaginal Davis used disidenctifaction to alter the effect Drag or gay/queer art places upon cultural politics. Similar to the discussions in class, a vast majority of drag performances were done solely as a form of entertainment. Comparing its wild exaggeration performed by Raul Paul and
She questioned her identity when she was labeled as a young boy; however, when he acquired the name Vagnial Davis, “he” became “she” and realized there was no need to conform to these labels but to interrupt them. In my opinion, her act of disidentification was a great way to draw attention to the stereotypical labels of personal identity placed by society. The best way to get someone’s attention is to say everything they want to hear, making them feel inferior and in control. Vaginal Davis did this by creating her persona Clarence, who approached this technique by stating how “perfect” the white male was and how happy he was to be one. This form of “terrorist drag” coined by the author Jose Estaban Munoz, built up the audience then slowly tore them and their pride down by returning back to Clarence’s original identity as Vaginal Davis; a black, openly homosexual male, who enjoy all types of music… diminishing every stereotype