1 Tea Hvala Working on Gender: New Burlesque and Cabaret in Ljubljana Summary In this essay, I discuss a selection of burlesque and cabaret shows made in Ljubljana, Slovenia between 2011 and 2014: Cirkus Kabare (Circus Cabaret), Fem TV, Rdeči Kabare (Red Cabaret), Cabaret Lounge Rouge, Tatovi podob (Image Snatchers) and Somrak bleščečih sprevrţencev (Twilight of the Glittery Perverts) among others. I focus on performance troupes whose production mode positions them either in the alternative or the independent class of culture. I describe and analyze only those acts that visualize the work required to perform specific femininities and masculinities: they were staged as part of the above-mentioned shows or public presentations of workshops organised by the Emanat Institute, the City of Women festival and the Red Dawns festival. The main features of burlesque and cabaret shows in Ljubljana as well as their possible sources of inspiration, both historic and cultural, are discussed vis-à-vis recent feminist debates on new burlesque in North America and Western Europe. Introduction Maša enters the stage in loose, peach-coloured underwear. She looks fragile and nervous. “For the past few days, I‟ve had a strong desire to become a drag king,” she says wringing her hands,” so I went to the library and picked up a manual on how to become one. Step No. 1 – Wow, I‟m really nervous – Dress like a man.” Slowly, with shaking hands, she puts on a pair of lined trousers and a white collared shirt. She zips her pants with a decisive gesture and the audience chuckles. Adding a pair of nerdy glasses, she says: “Step No. 2: Act like a man.” Despite her lean body, the spectators expect a display of exaggerated machismo. Instead, Maša performs a masculinity that is as shy as her femininity; still fidgeting, avoiding eye contact. The tension is rising: is this drag king ever going to “man up”? “Ok, done,” she says with a sigh of relief and grabs the manual that instructs her to sing a sexy song. “Moj črni konj ne rabi uzde, uboga me brez vajeti,” (“My black horse needs no bridle, he obeys without the rein”) she sings, and as if surprised by the sexual connotation, she mimics the horse‟s neigh. “Step No. 4: Flirt with the audience and – still flirting – leave the stage.” The drag king starts to wink with exaggerated moves; leaning forward, the body stiff, hands still wringing, the mouth wide open. As she sends us clumsy kisses and tries to leave the stage unnoticed, we laugh at our own expectations towards drag shows, rather than Maša‟s masculine femininity. ( Drobni gumbki (Tiny Buttons), Old Power Station, 6. 12. 2011) 1 My attempt to document burlesque and cabaret shows made in Ljubljana, Slovenia in the last three years is highly subjective. First, because I discuss only those shows which were produced in the contexts of alternative culture and independent culture (as opposed to institutionalised culture); second, because I focus on individual acts by performers who visualized the work required to enact a specific feminine, 1 All quotes from and descriptions of performances in this essay are taken from audio, video and photo recordings, archived by yours truly and a number of people without whom my research would be rather poor. I want to thank Ida Hiršenfelder, Jasmina Klančar, Polona Poberţnik, Jelena Rusjan, Nataša Serec, Tanja Škander, Jernej Škof, Irena Tomaţin and Danijela Zajc for sharing their memories, comments and files.