It does not run in the family: Chinese performance art and the queering of the Confucian family

Abstract

Since the beginning of the post-reform era (1978–present), China has witnessed dramatic changes to its society such as falling birth rates, rising divorce rates and changing attitudes towards patrilineal values – trends that suggest a move away from the Confucian family. Yet, it remains the normative family model in China today. In this article, I examine a range of performance artworks that depict queer subjects and familial relationships to uncover the ways that these performances subvert current understandings of the Confucian family and (re)imagine families where queerness can emerge. First, I turn to Fan Popo and David Zheng’s documentary New Beijing, New Marriage (2009) to examine how it expands the definition of Confucian marriages to include same-sex couples. Second, I examine how He Chengyao’s Mama and Me (2001) and 99 Needles (2001) provide representation and reparations for the relationships and individuals that are rendered marginal in Confucian teachings – namely, the relationship between mother and daughter and individuals who suffer from mental health issues. Lastly, I study the Beijing East Village (Dongcun) as a form of chosen family to see how the relationships and collaborations between the different members expand the definition of Confucian family model to include non-biogenetic kinships such as family-like friendships.