Activity: Queer Responses
Reflect on the following questions in your online portfolio:
Q1. What examples from the past or recent history of queer representation can you find in your art form? How is queerness represented? Would you say it is an authentic representation? How does intersectionality complicate the representation?
My career in the fashion industry as a designer and milliner immediately directs my thoughts to recent progressive changes made to the Victoria Racing Carnival (VRC) Flemington Melbourne Cup Carnival fashions and millinery competitions in 2022, following a long history of conservative rules and judging criteria. In 2022 a major shift was made to break up the traditional judging categories and criteria, which saw the removal of women’s and men’s best-dressed categories and replaced with best-dressed and best-suited, allowing anyone to enter any category regardless of gender identity (Woolnough, 2022). In my opinion, the results were amazing, with many competitors pushing the envelope and entering categories they previously wouldn’t have been able to, resulting in a more inclusive design/style competition. The move, however, did stir a lot of media attention with some members of the public finding the change hard to accept, especially the best-suited finalists (News.com.au, 2022). I remember reading comments posted on social media at the time and sensed those with conservative views were not pleased about the transition.
VRC 2022 Melbourne Cup Carnival Best-Suited Finalists. Image source: (News.com.au, 2022)
VRC 2022 Melbourne Cup Carnival Millinery Award winning entry. Image source: (GQstaff, 2022)
The overhaul to the VRC 2022 fashions on the field competition was only one element of their greater plan however, as they also enlisted non-binary model and fashion icon Christian Wilkins as their brand ambassador for the prestigious carnival event (which is a huge shift from the VRCs traditional selection of a celebrity female style icon) (LIAM, 2022). The change saw Wilkins, who prefers his/he pronouns (Cartwright, 2022) present his personal style to the media each race day over the Melbourne Cup Carnival, which gained the VRC a lot of praise as fashion critics loved Wilkins unique take on racing fashion. With the Melbourne Cup Carnival being such a historically iconic Australian event that draws some quite conservative crowds despite bringing together all ends of the spectrum in terms of class (from immense privilege to the working class who enjoy a punt) the changes were not without risk to the VRC in terms of patrons accepting the overhaul. As such, I feel this was a genuine effort to offer authentic representative opportunities to the queer community as the VRC doors were flung open and gender-style restrictions were tossed out. As the VRC have looked to become more inclusive Wilkins stated he felt proud to be part of the shift away from the VRCs traditional rules:
“I feel like [the cup carnival] was so guided by these very strict, gender-bound rules and to break that open and just allow people to express themselves how they want to be, that’s such a key ethos that I live my life by, I definitely think we’re a bit slow on the uptake, but having an institution like VRC which is so historic, so ingrained in our culture, to recognise that change, it’s a big step in a good direction and it makes me so excited to be the face of that.” (Cartwright, 2022).
VRC 2022 Melbourne Cup Carnival Ambassador Christian Wilkins. Image source:(LIAM, 2022)
VRC 2022 Melbourne Cup Carnival Ambassador Christian Wilkins. Image source: (Singer, 2022)
In terms of intersectionality, I do feel the VRCs approach aims to naturally welcome intersections of individual’s elements of identities without complicating matters, however as I stated earlier the patrons of VRC are predominately conservative so this may cause complications with regards to intersectionality. I am would advise the VRC gain more direct feedback from those within the community who wish to be patrons of the VRC and identify as having intersecting lived experiences including; disability, culture, race, gender, religion, sex and class, so they can gain a true and honest perspective of what inclusivity looks like for them.
Looking across to the visual art world I feel Meriette Pathy Allen’s photography offers beautiful aspects of humanity through her photographic fine art of transgender, gender fluid and intersex communities. Allen’s work engages you directly to the individuals within the photographs, who are going about their everyday lives and as such connects the viewer on a personal level rather than a performative one. It’s not about sexuality or merely a subject matter it’s about an actual person/people which I find very beautiful and honest.
Rachel, watching her father transform into Paula, Philadelphia. Photography by Meriette Pathy Allen. Image source: (Rosenberg, 2013)
Michelle and Betty Ann, Provincetown, Mass. Photography by Meriette Pathy Allen. Image source: (Rosenberg, 2013)
Q2. What role do you think comedy will play in your particular creative practice? How do you approach things that are worth laughing at? Do you think comedy can be used as a weapon in your work to push a political agenda?
I don’t know how successful I would be at incorporating comedy throughout my process of creative practice, hopefully, it will become something that naturally evolves or emerges rather than trying to achieve intentionally. I do hope however that I can move to take more risks and experiment with elements of comedy over time and I feel this would most likely emerge in the form of sarcasm as that naturally suits my sense of humour. I also feel I can relate to a lot of the narratives in my work in terms of context through the use of sarcasm. Working collaboratively with others is another area I hope to engage with in my professional practice as it offers wonderful natural opportunities to engage in play and comedy with other creatives and is beneficial to building stronger relationships and meaningful work. While I am open to the idea of comedy being used as a weapon to push a political agenda in my work, I cannot foresee at present what direct link that could entail. My life’s journey has exposed me to many experiences which could easily direct pushing a particular political view in my art practice through a weaponised approach but I don’t feel I have the energy for this at present, although the future may say differently.
Q.3 Take a look at your definition of cultural responsibility from week one and week four. How would you revise it now?
Week 1 Cultural Safety definition:
My Understanding of cultural safety includes offering an incredibly important space for people of diverse cultures to feel valued, respected, heard and celebrated. This safety includes a non-judgemental approach and welcomes knowledge sharing while embracing and celebrating pride in culture and identity.
Week 4 Cultural Safety definition:
My Understanding of cultural safety offers an incredibly important space for people of diverse cultures to feel valued, respected, heard and celebrated. This safety includes a non-judgemental approach and welcomes knowledge sharing while embracing and celebrating pride in culture and identity. Cultural safety can be bestowed by using pronouns, communicating with respectful and inclusive language, performing acknowledgment of country and providing support to minority groups through respectful actions and solidarity.
Reflecting further on my definition of cultural safety, I feel the need to consider what responsibilities the audience may have when viewing work that may involve triggering content along with the artist’s responsibilities in notifying audiences of such content so they can be informed before deciding to view.
Week 8 Cultural Safety Definition update:
My Understanding of cultural safety offers an incredibly important space for people of diverse cultures to feel valued, respected, heard and celebrated. This safety includes a non-judgemental approach and welcomes knowledge sharing while embracing and celebrating pride in culture and identity. Cultural safety can be bestowed by using pronouns, communicating with respectful and inclusive language, performing acknowledgment of country and providing support to minority groups through respectful actions and solidarity. Artists and viewers both share in the responsibility of creating and viewing art that may trigger trauma, understanding how art can play an important role in awakening memories, engaging emotive responses and advocating for change is important to remember in a cultural safety context.
References
Cartwright, L. (2022). Christian Wilkins on dating, pronouns and his milestone Melbourne Cup Carnival role. Retrieved 6 January 2023, from https://www.news.com.au/entertainment/celebrity-life/christian-wilkins-on-dating-pronouns-and-his-milestone-melbourne-cup-carnival-role/news-story/ae5c741f711156258ea6867326cb6401
GQstaff. (2022). Hat trick: Myer Fashions on the Field crowns its finalists and a winner. Retrieved 6 February 2023, from https://www.gq.com.au/style/racing/myer-fashions-on-the-field-melbourne-cup-2022/image-gallery/b3e60c5d4c458ec63111aaaf3a0218dc
LIAM. (2022). Melbourne Cup 2022: Celebrities Arrive In Style At Flemington Racecourse [Online article]. Retrieved 6 February 2023, from https://nybreaking.com/melbourne-cup-2022-celebrities-arrive-style-flemington-racecourse-htmlns_mchannelrssns_campaign1490ito1490/
News.com.au. (2022). Furore over Melbourne Cup Fashions on the Field winners. https://www.news.com.au/lifestyle/spring-racing/good-grief-furore-over-melbourne-cup-fashions-on-the-field-winners/news-story/f8ab355740b707a1b8ad257dbaf0ccd7
Rosenberg, D. (2013). 35 Years as the Unofficial Photographer of Transgender Life. Retrieved 6 February 2023, from https://slate.com/culture/2013/05/mariette-pathy-allen-the-unofficial-photographer-of-the-transgender-community-photos.html
Singer, M. (2022). No skirting the gender issue as racing fashion winner makes history. Retrieved 6 February 2023, from https://www.theage.com.au/lifestyle/fashion/no-skirting-the-gender-issue-as-racing-fashion-winner-makes-history-20221103-p5bv7e.html
Woolnough, D. (2022). Best dressed: Melbourne Cup’s top fashion prize opens to all genders. Retrieved 6 January 2023, from https://www.smh.com.au/lifestyle/fashion/best-dressed-melbourne-cup-s-top-fashion-prize-opens-to-all-genders-20220825-p5bct0.html
