ABSTRACT
This chapter explores the multi-dimensional construct of outsider and initially refers to conceptualizations of identity, essentialism, symbolic marking and performance. It discusses a range of theories concerning identity that include framing experience, institutionalization and performativity, refusal to conform in the arts and racially determined mimicry and desire. Humour relates to outsider identity as it inverts power dynamics and tackles taboo subjects that the excluded can relate to. Conceptually, there is reference to cultural articulation that recognizes shifting postmodern representations and outsideness resulting from creative practices. The ‘high art’ classical body points upwards to spiritual concerns and an ideal utopian heaven; whilst the grotesque body brings this enlightened yearning down to earth through carnal desire and indulgence. The authentication of identity beyond stage management requires props and validation to differentiate the ‘real’ marginal artist from imaginary poseur, however defined, which itself is a contorted process.
