#god im so glad i got to go : The Monster Ball Tour, Transnational Performances, and Digital Traces

Title data

Horn, Katrin:
#god im so glad i got to go : The Monster Ball Tour, Transnational Performances, and Digital Traces.
In: Horn, Katrin ; Lippert, Leopold ; Saal, Ilka ; Wiegmink, Pia (ed.): American Cultures as Transnational Performance : Commons, Skills, Traces. - London ; New York : Routledge, Taylor & Francis Group , 2022 . - pp. 147-160 . - (Routledge Advances in Theatre & Performance Studies )
ISBN 978-0-36-750131-0
DOI: https://doi.org/10.4324/9781003048947

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Abstract in another language

In her essay on Lady Gaga’s second world tour, The Monster Ball, (2009-2011) and its digital remains on blogs and social media, Katrin Horn reads such traces as performative acts, through which fans continuously re-create the ephemeral experience of the live concert. The essay further conceptualizes both the concert performances and their performative traces as transnational, as they highlight intersections of the local and global within international pop music stardom and fandom. To this end, this essay follows a two-part structure. It first discusses The Monster Ball as an example of global popular culture which privileges US-American LGBTQI identities and historiographies. Secondly, it analyzes the tour’s digital traces presented in fan activities as a crucial element of the concert experience. It thereby establishes digital remains—easily shareable, yet often highly personal—as crucial to understanding the manifold implications of the embodied performance because they stress its continuation rather than disappearance.