Cameron carpenter organist in drag in public

Dr Laura Wahlfors works at the Sibelius Academy of the University of the Arts Helsinki, Finland, where she conducts research and teaches in the doctoral study programmes. Since she also holds the title of Docent equivalent of adjunct professor in musicology and comparative literature in the University of Helsinki. Her fields of interest include music performance studies, queer theory and psychoanalysis, French theory, musical hermeneutics, and intermediality.

Alongside research and teaching, Wahlfors works as a performing pianist, often collaborating with singers.

Cameron carpenter organist in drag in public: Turns out that Cameron had decided

Her current research project Queering Musicianship is funded by the Kone Foundation. Cameron Carpenter, photograph by Dovile Sermokas. It is known to be the case that queer organists have a long, more or less hidden, history of camp culture within the confines of churches and cathedrals. Organ virtuoso Cameron Carpenter, however, performs camp and queerness flamboyantly on stage.

The Mohawk-haired musician with his skin-tight outfits and glitzy jewels is probably the most famous organist today, especially outside the circle of organists and organ aficionados. His public image is overtly and excessively sexualised, theatrically flaunting his style and his trained body. This article will probe these questions in the framework of queer theory, queer musicology, and theories of camp.

In current discussions, it has been questioned whether camp is any longer relevant as a form of cultural critique.