The Holocaust is considered a singularly atrocious event in human history, and many people have studied its causes. Yet few questions have been asked about the ways in which West Germans have "forgotten," unlearned, or reconstructed the racial beliefs at the core of the Nazi state in order to build a democratic society. This study looks at ethnic drag (Ethnomaskerade) as one particular kind of performance that reveals how postwar Germans lived, disavowed, and contested "Germanness" in its complex racial, national, and sexual dimensions.
Using engaging case studies, Ethnic Drag traces the classical and travestied traditions of Jewish impersonation from the eighteenth century onward to construct a pre-history of postwar ethnic drag. It examines how, shortly after World War II, mass culture and popular practices facilitated the repression and refashioning of Nazi racial precepts. During a time when American occupation authorities insisted on remembrance and redress for the Holocaust, the Wild West emerged as a displaced theater of the racial imagination, where the roles of victim, avenger, and perpetrator of genocide were reassigned.
Ethnic Drag is an accessible and sophisticated, critical and entertaining book that examines the phenomenon of cultural masquerade in order to examine racial feeling, thought, and behavior in postwar German culture. Contributing to considerations of drag in postcolonial, feminist, and queer scholarships, this book will be of interest to people in German studies, theater performance, ethnic studies, and women's/queer studies.
Katrin Sieg is Associate Professor, Department of German and Center for German and European Studies, Georgetown University.

The Holocaust is considered a singularly atrocious event in human history, and many people have studied its causes. Yet few questions have been asked about the ways in which West Germans have "forgotten," unlearned, or reconstructed the racial beliefs at the core of the Nazi state in order to build a democratic society. This study looks at ethnic drag (Ethnomaskerade) as one particular kind of performance that reveals how postwar Germans lived, disavowed, and contested "Germanness" in its complex racial, national, and sexual dimensions.

Using engaging case studies, Ethnic Drag traces the classical and travestied traditions of Jewish impersonation from the eighteenth century onward to construct a pre-history of postwar ethnic drag. It examines how, shortly after World War II, mass culture and popular practices facilitated the repression and refashioning of Nazi racial precepts. During a time when American occupation authorities insisted on remembrance and redress for the Holocaust, the Wild West emerged as a displaced theater of the racial imagination, where the roles of victim, avenger, and perpetrator of genocide were reassigned.

Ethnic Drag is an accessible and sophisticated, critical and entertaining book that examines the phenomenon of cultural masquerade in order to examine racial feeling, thought, and behavior in postwar German culture. Contributing to considerations of drag in postcolonial, feminist, and queer scholarships, this book will be of interest to people in German studies, theater performance, ethnic studies, and women's/queer studies.

Katrin Sieg is Associate Professor, Department of German and Center for German and European Studies, Georgetown University.

Winner of the 2018 Gordon K. and Sybil Farrell Lewis Book Prize from the Caribbean Studies Association
Winner of the 2017 Annual Book Prize from the Canadian Association of Latin American and Caribbean Studies (CALACS)​

Sovereign Acts explores how artists, activists, and audiences performed and interpreted sovereignty struggles in the Panama Canal Zone, from the Canal Zone’s inception in 1903 to its dissolution in 1999. In popular entertainments and patriotic pageants, opera concerts and national theatre, white U.S. citizens, West Indian laborers, and Panamanian artists and activists used performance as a way to assert their right to the Canal Zone and challenge the Zone’s sovereignty, laying claim to the Zone’s physical space and imagined terrain. 

By demonstrating the place of performance in the U.S. Empire’s legal landscape, Katherine A. Zien transforms our understanding of U.S. imperialism and its aftermath in the Panama Canal Zone and the larger U.S.-Caribbean world.