Dragging Music: Towards a Queer Socio-Cultural Semiotics

Abstract

<jats:title>Abstract</jats:title><jats:p>What can queer theory, and drag performance, contribute to music semiotics? This paper proffers ‘dragging’ as a socio-cultural semiotics that demonstrates how musical meanings are dynamically queered through drag lip-sync performance. Departing from approaches to meaning and semiotics in musicology and popular music studies, I intervene with direct insights from queer theory. I draw out oscillations between queer theoretical perspectives on temporality and (post)structural concepts such as assemblages and mediation as they have been incorporated into music studies. ‘Drag’, not just an art form, is here developed as a specific kind of spatial-temporal mediation: dragging is understood as the displacement and heterochronization of meaning, where musical objects are dragged ‘out of time’ and ‘out of space’ into the alien world of queer experience. Dragging as a conceptual instrument allows us to begin answering questions of how meanings – and their political stakes – coalesce inside and outside, within and without, music.</jats:p>