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It is the love of the exaggerated, the ‘off,’ of things-being-what-they-are-not.” From a critical perspective, this could describe nearly anything requiring production value.Italian opera (or a visit to the in-laws) requires both qualities.
It is one way of seeing the world as an aesthetic phenomenon." Her numerous examples — Oscar Wilde, Tiffany lamps, comics — emphasize what she calls “the essence of camp”: an embrace of all things exaggerated, artificial, and over-the-top."I believe it’s part of the Black culture through the ages, sometimes adopted by the gay community," former In fact, it's impossible to discuss camp without looking at the influence of queer folks, particularly queer and trans people of color.QTPOC have always been a driving force behind camp, from creating ballroom culture to innovating the arts like camp icons from Josephine Baker to Ru Paul.Polari blended many linguistic influences, and etymologists believe that the word , critic Moe Meyer accused Sontag’s essay of “removing, or at least minimizing, the connotations of homosexuality” from camp, and defined camp as “strategies and tactics of queer parody.” Sontag does mention the influence of queer culture on camp, but not until near the end of her essay, when she notes, "one feels that if homosexuals hadn’t more or less invented Camp, someone else would." In a 2018 essay on camp, linguist Chi Luu responds to Sontag with, "Would they have? What other subculture would have the drive and the expressive urgency to develop something as frivolously influential as camp?" Sontag's essay doesn't discuss race, either, though some believe that camp's origins are in the Black community."There’s something going on when these cultural references are used. What lens are these exhibitions being funneled through? “If there isn’t a very diverse group of curators, or group of hands working on the project, then it’s not going to include that culture.” Any institution attempting to celebrate camp, she says, should "include gay men of color and gay women of color and people who currently participate in drag and Carnival.We're losing that memory, because people think it’s just a fun thing to say, but it’s actually rooted in a history of resistance forms of cultural production."Christie says that she expects Black camp — like Black '70s funk, Caribbean Carnival costumes, Blaxploitation movies, and "pimp/player fashion" — to be left out of the Met’s exhibit. Bootsy Collins and Chaka Khan are well and alive, and I’m sure they have their costumes archived somewhere.Some linguists believe that the word comes from the "secret language" of Polari, which was created and used by queer people in Britain in the 19th and 20th century.The language began to fall out of use after homosexuality was decriminalized in Britain in 1967.“The 1980s have, until recently perhaps, been a maligned era of fashion, but even before bum bags (re)took menswear by storm, there was lots to love from a sartorial standpoint.’” “The relation between boredom and Camp taste cannot be overestimated.Camp taste is by its nature possible only in affluent societies, in societies or circles capable of experiencing the psychopathology of affluence.” Results of a 2016 survey, reported by “66 percent of American adults and 75 percent of teens agreed that shopping is a ‘great cure for boredom.’ Even more—85 percent of adults and 86 percent of teens—said it makes them feel better, and the best cure for ennui is buying clothes.” “Detachment is the prerogative of an elite; and as the dandy is the 19th century's surrogate for the aristocrat in matters of culture, so Camp is the modern dandyism. (Or, if it is cynicism, it's not a ruthless but a sweet cynicism.) Camp taste doesn't propose that it is in bad taste to be serious; it doesn't sneer at someone who succeeds in being seriously dramatic.