RITA VON HUNTY: DISCURSIVE PERFORMANCES ON THE TEMPERO DRAG CHANNEL

Abstract

Through cultural pedagogies, types of thoughts and actions are constructed in relation to oneself, others, and the world, producing specific meanings that teach and (re)produce particular types of identities and subjectivities about body(ies), gender(s), and sexuality(ies). In the context of cultural studies, the Tempero Drag channel, which features performances by Rita Von Hunty, aims to teach meaning-making through its discursive and humorous performances. In this context, the objective of this article was to discuss recurring themes and approaches in Rita Von Hunty's discursive and videographic performances about body(ies), gender(s), and sexuality(ies). The method used was qualitative, descriptive, and analytical, employing a non-participant observation methodological strategy. The analytical technique used was cultural analysis, and the discursive performances of Rita Von Hunty were analyzed, with emphasis on the themes of (1) body(ies), gender(s) and sexuality(ies), (2) LGBTphobia, (3) heteronormativity and misogyny; and (4) control of bodies and biopower. "Discursive performances" are communicative practices that employ verbal and nonverbal language to influence interpretations in sociocultural contexts, shaped by cultural norms and values. They play a central role in the reproduction and contestation of discourses and identities, involving the selection of words to create specific effects and express identity. Understanding language as social action is fundamental to critical thinking. Rita Von Hunty exemplifies this understanding by connecting specific themes to broader issues, addressing corporeality, gender identities, LGBTQIAPN+ discrimination, heterosexual and cisgender norms, misogyny, and biopower; enriching her speech with humor, personal and academic references, as well as the inclusion of a sign language interpreter.