Abstract
SUMMARY Gender studies in general and queer studies in particular have stressed the notion of imitation, play, and performance of gender. In this essay I undertake a comparative analysis of the hijra and the drag queen in terms of the shared and disparate subversive possibilities and limits of the gendered performances they undertake. Studying the hijra alongside the drag queen will in no way mean conflating the two categories. Rather, I explore the cultural nuances involved in the hijra performance, including its ritualistic and religious aspects. While my analysis relies heavily on previously written works about hijras and drag queens, I have also had the opportunity to meet and visit with hijras during several marriage ceremonies of cousins and other relatives from 1992 to 1998 in New Delhi.
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