Welcome to the catalogue of the exhibition titled BIJOUX, which launched online on Oct 29th, 2020 at Centre Never Apart.
BIJOUX celebrates the creativity and unabashed self expression of trans femme performance in nightclubs, cabarets, and drag venues. The exhibition highlights the artistry and traditions of individuals in Montreal, Vancouver, New York, and Paris, from the 1960s to present. Through an array of media including archival video, portrait photography, costume, archival material and music, individual stories are shared as varied representations of the multi-faceted identities trans femmes embody. As the title hints, the difficult yet delicate process of identity self-expression through performance has the potential to result in the creation of radiant jewels. Within drag culture, trans identity is often perceived as a misunderstood, liminal space. Yet the powerful moment of self acceptance and self determination through gender expressive performance holds incredible beauty and promise for a trans celebratory future.
Featured artists include Elle Barbara (Montreal), Jordan King (New York), Kim Wood, (Quebec), with contributions from Candis Cayne (Los Angeles), Jaylene Thyme (Vancouver), Annie Sprinkle (California), Austin Young (California), JD Doyle Archive (Texas).
We, the curatorial team, recognize and acknowledge that this exhibition will take place on unceded Indigenous lands which belong to the Kanien’kehá:ka First Nation. It is with the utmost respect of this fact that we undertook the planning and preparation process of this exhibition.
INTRODUCTION
Performance is at the heart of this exhibition. Of course, gender expression and gender identity are critical elements which cannot be overlooked, but the intention of presenting the images, costumes, videos, personal ephemera, and slideshow is not intended to represent the trans population at large, or to suggest all trans women are inherently performers. It is also not to imply that stage performance is a necessary part of trans identity. Rather, the intent in curating the content of this exhibition was to shine light on a handful of trans female individuals who were known to have performed, the documentation of which is shared herein, and to explore the similarities, differences, and rich histories which have not been explored in this manner or in an exhibition of this nature.
A modest assumption is that readers of this writing have an understanding or awareness of the existence of transgender identity and gender expression. The purpose of this exhibition is not to offer an explanation or exploration of terminology or transgender identity at large. (An expansive look was recently offered in The Art Gallery Burlington’s “Gender Conspiracy” exhibition, which included the beautifully composed Gender Education Guide ).
Beyond this introduction, there is no mention or comment that the individuals featured in this exhibition are transgender femme/female identified. An exception to this are many of the drag performers whose photographs are included in the program of Paris’s Le Carrousel from the 1950s, who likely did not transition medically or socially outside of their lives onstage in Paris, at least as far as has been documented publicly. The cover subject of the book “Evening At The Garden of Allah” also falls into this category. It is important to mention that one item in the exhibition contains the term “female impersonator” (“Mother Camp: Female Impersonators in America”, published 1972). This was an early 20th century term used until the 1960/early 70s, and in many circumstances, was mentioned in reference to drag or cabaret performers, which included trans women. Clarification of this distinction is offered in published autobiographies or memoirs of trans individuals. While it is a term that would be considered offensive now, its use in historical contexts cannot be omitted.
My hope is that viewers and attendees will be pleasantly surprised to learn that trans femme individuals and gender expressive identities have existed and thrived in performance spaces throughout the last sixty to seventy years. Simultaneously, language, terminology, pronoun preference and access to medical/health supports to transition, have all evolved significantly.
Please enjoy this preview tour, with descriptions and additional information on each of the displayed pieces, shared below.
Playlist
The Bijoux playlist is meant to act as an accompaniment to the exhibition. When visiting the gallery in person, the song playing in the gallery space is Elle Barbara’s version of “Si J’Etait Un Homme” (the last song on the playlist if you are able to listen on Apple Music, unfortunately, the song is not streamable on Spotify). Elle’s bright, clear voice so beautifully contributes to the mood and experience of the exhibition. Many of the songs on this playlist meanwhile served as the backdrop to performances by individuals included in this exhibition, a few of which are indicated in the descriptions below. They each offer a sense of the scope of different genres of music used in burlesque or drag performance. As you spend time with the performers while viewing the exhibition, ponder which songs you think might have been utilized, and during which era.
A podcast mini-series appeared as part of Never Apart’s monthly online magazine. These audio interviews are an additional element of the BIJOUX exhibition and provide additional detail about the experiences of trans femme performers, as well as details on the costume provided by Jaylene Tyme.
“INTERNATIONAL CRISIS (sic) TRANSGENDER TORCH SINGER” Photo: Annie Sprinkle
INTERNATIONAL CHRYSIS
International Chrysis was an underground icon in New York nightlife during the 1980s. She appeared onstage throughout her life, in luxurious cabaret shows, as part of burlesque revues, in drag clubs, as well she toured internationally. Many who knew her commented in interviews conducted this spring that Chrysis was the first person they heard use the term transgender to describe herself. Annie Sprinkle took this photo in her New York studio in the 1980s, as part of her “Post Modern Pleasure Activist Playing Cards” series. A black and white 8” X 10” photo of Chrysis, also taken by Annie Sprinkle, which served as the first spark to formally present an exhibition, is also included.
The first plinth visible upon entering the gallery is specific to International Chrysis. It includes photographs of International Chrysis in New York publications (Stop Magazine, top left, Chrysis photo by Johnny Dynell, Details Magazine, top right, photo by Marcus Leatherdale), 8” X 10” black and white glamour photo, bottom right, by Annie Sprinkle, sealed single pressed on vinyl, International Chrysis, “Let There Be Peace On Earth”. Very little information is available on the single, the vocals are undeniably Chrysis, the credited producer is named Steve Pickett. This record isn’t available anywhere online, but a second, previously opened copy has been digitized. The mood of the single is uplifting, a sort of synth based gospel sound, with operatic backing vocals. (All items are my personal collection)
KIM WOOD
Kim is a dynamic, charming woman now in her 70s. She began performing in Montreal in the 1960s, continued through the 1970s, with periods spent in Vancouver and New York. She has graciously shared these personal press photographs, as well as the super 8 film footage shot on her personal camera in the 1960s, for this exhibition.
Kim second from left in bottom left photo. Montreal revue, 1960s
Four books which contributed significantly to the preparation of this exhibition (clockwise from top left):
“Mother Camp: Female Impersonators in America” by Esther Newton, original publication, 1972, a study on the lives and livelihoods of drag performers, contrasted with “street queens” (the term used in the book) transgender individuals who lived day-to-day as female.
“Evening At The Garden of Allah”, by Dan Paulson, original publication, 2006, a beautifully researched account of a Seattle underground gay-owned drag cabaret most successful in the 1940s - early 1950s.
“C’Etait Du Spectacle: L’histoire des artistes transsexualles a Montreal 1955 - 1985” by Dr Viviane Namaste, published in 2006, a French language study on the lives of trans performers in Montreal between 1955 and 1985.
“Kim”, written by Kim Harlow, photographs by Bettina Rheims, published 1994, the unfinished autobiography of Parisian trans showgirl and performer Kim Harlow, published posthumously.
Le Carrousel, Paris - Program Photos
These photos are from the personal collection of JD Doyle, an archivist and historian who manages both his own online archive, as well as Queer Music Heritage, an extensive resource on LGBTQ history. Le Carrousel was a well known cabaret venue in Paris in the 1950s that featured a luxurious “female impersonation” stage revue (see note in introduction regarding that term). A number of the performers (their photographs are the top row, Coccinelle, April Ashley, credited here as Toni Ashley, and Bambi) are known to have identified as transgender, or sought gender affirming surgeries, as stated in their published memoirs.
Noteworthy is the album cover of the performer credited as Habanita, top right The album was pressed by Olympia Records in Belgium and is part of JD Doyle’s personal collection. It includes four French cabaret chansons, performed beautifully by Habanita. There is no additional information on her, but the inclusion is important; to have a solo album released indicates she enjoyed a level of fame and prestige for the time.
This is an excerpt from Kim’s personal super 8 camera footage, which is projected onto a feature wall in the gallery. For protection of the film in its entirety (approximately 7 minutes in total), only an excerpt can shown here. (Personal collection of Kim Wood.)
“Connie In Her Dressing Room”
Black and white large format photograph reproduction of Connie Flemming. Connie is a legendary New York performer and nightlife icon, she appeared regularly at the drag venue Boy Bar in the late 1980s. She later walked runways for Thierry Mugler and Vivienne Westwood. This image was taken by Austin Young in the late 1980s or early 1990s.
Chrysis Contact Sheet
Black and white contact sheet from a portrait session with International Chrysis, provided by photographer Austin Young.
Connie In Her Dressing Room, photographer Austin Young
Chrysis Contact Sheet, photographer Austin Young
Dresses displayed on mannequins
Three dresses displayed on translucent mannequins provide examples of costumes worn for performance. The textures are sumptuous and immediately eye catching, radiant satin, glimmering metallic beads, sequins, and hourglass shapes are detectable on each outfit.
From left to right:
Cotton belted trench with oversize plastic buttons, leather two tone (black/red) gloves, red hammered silk dress from my personal archive. These pieces were acquired around 2006 when I was most active in burlesque performance.
Polyester beaded bronze dress with detachable cape, Jaylene Thyme.
Red lace mesh sequinned dress, Candis Cayne.
Video Montage
A series of performances is shown on a loop, representing both uniqueness in styles of performance and potential intergenerational influence. The first performance is International Chrysis at Mars Nightclub in New York in 1989, filmed by Nelson Sullivan and displayed here with the gracious permission of Nelson Sullivan archive/5NinthAvenueProject. This was in the last year of Chrysis life, the song she lip synched was the gospel song “Oh Happy Day”. She has an undeniably joyful spirit as she references religious celebration, before revealing a sculpted corseted figure. The second video is Candis Cayne lip synch performance of “Man With The Golden Gun” at Lavalounge nightclub in Vancouver in 1999 (shared with permission from House of Venus). Candis is a phenomenally trained dancer, clearly visible here. I was present at this performance which made an incredible impression on me at the age of 19. I had never seen a trans performer onstage, much less one with such incredible beauty, poise, and dance ability.
Elle Barbara “Si J’etait Un Homme”
Montreal based performer and artist Elle Barbara released this cover of a famous Quebec chanson in August 2020. The timing was completely serendipitous; I had followed Elle for over a year on social media and was ecstatic when she agreed to allow her music video to be shown as part of the exhibition.
Polaroids/Personal photographs
This collection of photographs and polaroids provide an intimate and varied look at both Chrysis (left), and myself at various points during my transition. The photographs of Chrysis were taken at various times in the 1980s, most notable are the two polaroids (bottom row) which were taken at a New York supper club venue called “La Cage Aux Folles”. It was mentioned anecdotally that Chrysis had performed there, singing perched atop a baby grand piano, which this extremely rare photograph confirms. To the right is a polaroid shared by Kim Wood, taken on a visit to New York in 1981, notice Chrysis to her left. The reverse of the La Cage Aux Folles postcard (bottom right) is signed by Chrysis, and sealed with a lipstick kiss. (All are my personal collection)
Slideshow
A collection of archival slides presented was shown on projection, as they would be experienced if displayed by a carrousel slide projector. They displayed various press and media clippings related to Montreal nightlife venues, Montreal trans history, and the appearance of trans women at Montreal nightlife venues throughout the 1950s, 1960s, and 1970s. They were collected during Dr. Viviane Namaste’s exhaustive research of Montreal nightlife history for her book, “C’etait Du Spectacle”.
BIJOUX
The final mannequin in the exhibition is my recreation of a costume worn by International Chrysis, well documented in a backstage photograph dated 1986. It is the final show piece of this exhibition, meant to symbolize the dazzling radiance of the showgirl allure.
Ostrich feathers, synthetic mesh, elastic belt, acrylic hand-sewn rhinestones, tulle, fishnet stockings. Leather mask, hand-applied rhinestones
Acknowledgements
It is with the utmost gratitude that I offer thanks to the many people who contributed their time, creativity, photographry, recorded video, expertise and input to this exhibition.
Michael Venus, Sylvain Brochu, Sofie Tremblay, and Dax DaSilva at Centre Never Apart for presenting and contributing to the existence of this exhibition. Greg Manuel for invaluable input to the visual organization and content of the exhibition.
Dr Viviane Namaste, for both the time and dedication to publishing “C’etait Du Spectacle”, as well as conversations surrounding this exhibition, my gratitude cannot be overstated. Clark Render, (RIP), for welcoming me into his life, teaching me about Chrysis and sharing details of so many incredible moments in New York nightlife history.
Joey Gabriel, Steven ‘Perfidia’ Kirkham, Lauren Pine, Matthew Kasten, Scott Ewalt, David Ilku, Chi Chi Valenti, and Tony Zanetta, all of whom spoke with me about Chrysis between Aug 2019 and Aug 2020.
David Bateman, Anohni, and Raja Feather Kelly, each of whom took time to listen to my ideas about the content of the exhibition. My time shared discussing this project was incredibly meaningful, especially during the beginning of the pandemic when it seemed the exhibition could be cancelled.
Contributors Annie Sprinkle, Austin Young, and JD Doyle, who have preserved powerful moments in these trans women’s lives.
Candis, Connie, Elle, Jaylene, for participating in this exhibition (in interview, performance, or by providing a dress).
Kim, who is truly an incredible ray of light, for sharing graciously from her personal archive, as well as taking time to speak with me over the phone frequently, a tradition I hope we will continue.
Chrysis, for her radiance, brilliance, and incredible spirit. Although I never met her, I feel as though I have, and her influence continues to impact long after her passing.
My incredible, supportive husband, there aren’t enough words to express my gratitude.
Omissions
It is critical to acknowledge that only a very small number of performers are included in this exhibition, and that it is by no means intended as an exhaustive representation of the transgender population, or trans women/femmes as a whole. Numerous other individuals were considered, but ultimately not able to be included simply due to an inability to gain permission to display photographs or video, or to make contact with them, in cases where they are still alive. Some examples include Jackie Shane, who enjoyed a prolific musical career in Canada in the 1960s, Sir Lady Java, who hosted events and entertained onstage in Los Angeles in the 1960s, Oliv, in Vancouver, Canada, the subject of a forthcoming documentary film titled “The Empress Of Vancouver”. Dorian Corey, who, while being interviewed for the 1990 documentary “Paris is Burning”, spoke about traveling and performing with the Pearl Box Revue, a black drag revue in the 1970s. The clip which was not included in the theatrical version of the film, but is included in over 90 minutes of additional footage held at the UCLA film/television archives, was an incredible discovery. Time constraints prevented obtaining permission to display it, as was the case with a Canadian documentary short film, “Minimum Charge, No Cover”, which looked at drag performers and trans identified individuals on Toronto’s Yonge Street in the late 1970s.
There are countless examples of unique drag/performance/nightlife spaces throughout the 20th and into the 21st Centuries that fostered the development, livelihoods, self expression and existence of trans women. My hope is to continue this research and to share this work with broader audiences.
Further work
Despite an increase in media visibility of trans people, particularly American trans women of colour in the last decade, (Laverne Cox, Janet Mock, Munro Bergdorf, Aaron Phillip, the cast of “Pose”, to name only a few), at the time of this exhibition (October 2020) in the United States thirty trans identified individuals had been killed in connection with their expression of their gender identity in that year alone.
It would be egregious to present this exhibition which celebrates a small number of individuals while overlooking the current lived reality for many trans individuals.
To any trans person in crisis, or in need of support, an immediately available and invaluable resource is Trans Life Line: ”a grassroots hotline and microgrants 501(c)(3) non-profit organization offering direct emotional and financial support to trans people in crisis - for the trans community, by the trans community” (quoted from their website).
Please consider learning about, and if possible, supporting financially on an ongoing basis, any of the following Canadian programs:
CANADA
MONTREAL
Action Santé Travesti(e)s et Transsexuel(le)s du Québec (ASTT(e)Q), also known as Québec Trans Health Action
http://www.astteq.org/
TORONTO:
https://www.the519.org/
The 519 is a city organization dedicated to advocacy for the inclusion of LGBTQ communities.
VANCOUVER:
https://qmunity.ca/
QMUNITY responds to BC's queer, trans, and Two-Spirit communities' needs and us thrive
EDMONTON:
https://chewprojectyeg.org/contact
The CHEW Project’s . . . provide[s] frontline support, opportunities for health and wellness, and to help find hope for LGBTQ2S+ youth and young adults
If you live outside of one of these cities, a simple step you can take to improve the lives of trans individuals is to do a quick online search for transgender support programs, or transgender youth support programs, and consider donating, volunteering, or contributing to the work of the organizations you find.
Host this exhibition
I would be thrilled to display this work in other galleries and cultural spaces, including in modified or expanded formats, depending on space/dimensions. Please reach out with inquiries using the contact form found on my bio page.