Dear Creature: Gender Non-Conforming vs. Nonbinary

Headshot of Creature Karin Webb. Pierced septum and medusa, glasses on top of forehead. Medium length light brown hair, light chin hairs, faint sparse mustache, blue eyes.

Dear Creature,

While out to dinner with my newest housemate, I was asked a question I wasn’t able to answer, but immediately thought of you as the perfect person to consult! We’re putting together a panel/social for queer, femme-identifying and gender non-binary folx, and we are inquiring about the differences between “gender nonbinary” and “gender non-conforming” identities, which I can only imagine are quite nuanced.

I think I might identify as queer, cis-fem, and at times gender non-conforming in the way I dress and behave and do sex… and other times in a highly gender conforming, feminine manner. I suppose behaving like a creature would also make me gender non-conforming… right? I feel rather behind on many conversations my peers are having on the subject matter, and I want to keep up… I’m just a bit out of practice.

I’d love to know your thoughts! Hope you are having a day filled with magic of all kinds!

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Thank you for this great question!

In general, I’d say “nonbinary” is an umbrella term which covers terms such as genderqueer, genderfluid, nonbinary, gender non-conforming, a-gender, third gender, two-spirit… etc. It’s descriptive of people who do not subscribe to or feel properly defined by the limitations of a binary male vs. female identity. Nonbinary identifying people generally believe ourselves to fall into identity spaces which are neither male nor female, or we embrace traits of both, and/or see ourselves as other. Nonbinary points to gender as a spectrum of two or three dimensions, rather than two sides of a coin.

“Non-conforming” is just that: people who acknowledge themselves as existing within male or female spaces at some level, but don’t subscribe to a conformist social view of how those genders/sexes are “supposed to” look/act/feel/desire/present… etc.

Considering these terms side by side, you can be both nonbinary and gender non-conforming. You can also identify as cis and non-conforming, or binary trans and non-conforming. On one level it can be looked at as: non-conforming is something you “do”, while nonbinary speaks more to who or how you “are”.

Identity is highly personal. We get to use the words we feel connected to, using descriptions of these words in the ways which make most sense to us. It’s important to keep in mind that people describe their identities in different ways, sometimes using the same words to invoke different meanings, feelings, and behaviors. It’s helpful to understand a variety of meanings when discussing these things with others.

To reference the way you describe your identity above, some of the words you are using seem to have slightly different definitions from the ones I use, and that’s great! One example of where our definitions seem to diverge is within the concept of conformity. I, someone who identifies as nonbinary, don’t personally subscribe to the concept of gender existing within the binary format at all, so “acting female” or “acting like a woman” doesn’t really mean anything specific to me. Therefore it’s hard to be “non-conforming” regarding my tastes and behaviors “as a woman” (which is also one of my gender identities).

To explore this ideal further: is it “feminine” for a cis man to desire anal penetration? My answer would be absolutely not. The prostate, when stimulated properly, can offer extreme pleasure. Is pleasure gendered or sexed? If we can say “no, pleasure itself is without sex or gender”, it follows that there is nothing gendered or sexed about the desire to or behavior of being penetrated. Therefore the desire to penetrate is also not sexed or gendered, meaning any person can desire penetration or to penetrate without it being seen as outside the norms of human agency and desire. It is not non-conformist to perform or desire either of these acts.

Another subtlety I’ll entertain in this conversation is that there is a difference between binary transgender identities and nonbinary transgender identities, particularly when it comes to issues of gender conformity. Those transgender people who view themselves as binary will sometimes have certain ideals or views more in common with cis people when it comes to gendered or sexed expectations. There may be more of an emphasis on or desire to “pass”, which can employ the tools of conformity at times. There are certainly binary trans folks who define “what a man or woman looks like” as what they themselves look like, by default of being a man or woman regardless of their personal ability to publicly pass as the gender they identify with.

So what even is the purpose of gender within descriptive language? I might say that certain “airs” contain an aspect of feminine energy or masculine energy, and that we all have each and other energies within us to draw from. So for me, non-conforming is less relevant to enunciate in general. My identities as genderfluid and nonbinary are already non-conformist by our binary social standards and definitions. Every individual has a capacity to take on and utilize a number of different energies, and therefore society’s ideas about conformity are just plain ‘ol incorrect by my definitions. Regardless, I certainly still get hung up on and have to examine and reexamine what I feel are instilled expectations vs. personal desires as I show my face publicly—or even as I define what I enjoy and find attractive about myself privately. Sticky work, unravelling this mess is…

To end on a positive note, if it’s empowering to you as a cis identifying person to interact with the socially constructed ideas of feminine and masculine as a jumping off point for conformity and non-conformity, then absolutely use those terms and words in the ways that describe your journey and your evolution best! This is one of the things that I love about identity conversations: they can go anywhere. When communicated thoughtfully and investigated more and more deeply, they teach us to hear one another and even to better understand ourselves more clearly over a lifetime.

Play On My Friends,
~ Creature

This writing takes time, research, and consideration. It is my art.
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Connection and Consent: A Gallery Exhibition and Performance

Photo by Juan Carlos Ruiz Vargas of my performance, “Listen, No Speaking, Touch”, as Medusa at Pulqueria los Insurgentes, Cuidad de México, September 6, 2018. This performance was part of The Scarlet Tongue Project/El Proyecto de la Lengua Escarlata.

I have been asked by one of my favorite artists to install a piece of art and to perform during the opening event of a gallery show running the month of November and into December. Please come by, there are some really fabulous artists on the bill and it would be great to catch you at the opening on November 15th:

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Ourselves
An exhibition of transgender and non-binary artists making work about the trans experience

Exhibition: November 5- December 6
Reception: November 15, 5-9pm
University of Rhode Island, Providence
80 Washington St, Providence, RI 02903

Curated by Caleb Cole Artists:
Chai Anstett, Sam Bodian, Ria Brodell, Eli Brown, Caleb Cole, Leah Corbett, Arlo Crateau, Catherine Graffam, Jamezie Helenski, Rob Lorino, Cobi Moules, Lenny Schnier, Austen Shumway, J. Turk, Creature Karin Webb

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The installation and performance I’m bringing to this show is an iteration of the work I started this month in Mexico. I’m excited to bring my work to a third type of venue — from club space, to black box theater, to art gallery!

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“Listen. No Speaking. Touch.”
by Creature Karin Webb

Installation: A small nook area is set up/created with red fabric walls, it is warmly and dimly lit (as possible). Inside the nook there are 2 chairs and a small side table set with roses, a basin of water, with a stack of washcloths nearby. Scattered around the table, chairs, and floor are rose petals. Each petal is marked with a fingerprint of blood from the artist. There is a small swatch of red fabric with thread revealing a number of stitches already stitched in, the needle still attached, is prepared for more. The shape taking form on the fabric is the figure of a person. On the floor, a chalk circle surrounds the space (alternatively this can be taped or painted — whatever works best with the venue’s floor and traffic patterns).

Performance: The artist is dressed in comfortable, casual, sensual clothing. Outside of the circle on the floor, presented toward the audience, the artist places three signs: “Listen”, “No Speaking”, and “Touch”. The artist takes their place within the installation on one of the chairs. There are a few iterations of this performance which include different “offerings”. I am proposing “Washing” for this venue. The water basin and stack of wash cloths are used. Participants who wish to interact with the artist are welcomed non-verbally into the circle to sit in a chair. The entire one-on-one performance within the circle is non-verbally conducted. There is no expectation of what will happen or not happen. The offering to wash or be washed is physically present, though it is the connection between the two participants which is impetus for all action which occurs. This is a study in non-verbal communication, connection, desire, and consent. Performances with each participant vary in length. Each connection the artist makes over the course of the performance while in character (participants, audience members, etc.) is marked as one added stitch to the piece of red cloth. Eventually the form stitched will be stuffed with petals saved from each performance, and as the work continues, stitches of beading will be added until the object is complete.

Statement: I’ve been meditating on this piece of art and performance for a few years, and I began it’s practice in la Cuidad de México on September 6th, 2018. So far I’ve performed and installed this project in two different venues: the Mexican nightclub, “Pulqueria los Insurgentes”, and in a Mexican theater space, “La NaBe foro”. Both of these performances were created in collaboration with artists during an artist retreat as part of The Scarlet Tongue Project. Installation and performance at the University of Rhode Island will be my third venue. I plan to bring this piece to many venues of varying type and size throughout the next few years. Please write me if you have interest in booking this performance, other of my work, or to bring me to your venue as a speaker or educator: Contact

“Listen. No Speaking. Touch.” is a meditation on the artist I’ve become, the human I am presently, and the rules I’ve needed to break or ask permission to explore along the way. Its performance is an invitation for viewers and participants to grow with me, to experience communication non-verbally, to offer, accept, to hold boundaries, and ultimately to risk being present with another human intimately. “Listen. No Speaking. Touch.” elicits recollections of the ways I (and many people) have been marked, whether by society, socialization, or specific people, throughout our histories in ways which disrupt our naïveté and the fairy tale of what connection, love, sex, romance, and friendship are “supposed to” look like. We struggle, in this society, to find our way within a culture which promises personal rights and opportunities, yet enforces repression of individual expressions of identity through violence, non-consensual acts, systematic poverty, refusal to acknowledge the needs of minorities, through institutionalized bigotry, and largely through fear. We are beautiful as we are, marked though we may be. With “Listen. No Speaking. Touch.”, I want to create space for individuals to connect with me, the queer artist, in basic ways which allow curiosity a chance—by way of simple actions and silence we might discover co-creation. “Listen. No Speaking. Touch.” also invites one to explore thoughts and feelings around current discussions of the #MeToo movement. As we practice and/or witness non-verbal negotiation one becomes more attuned to the subtleties of a language which is physical and energetic, and must begin to take responsibility for the ways we are able to “Listen”, to understand the desires and boundaries of the people around us. We are complicit, we are aware, and we must take responsibility for the moments we create with one another, positive, negative, neutral, and complicated.

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Many of the artistic opportunities I engage in, and frequently the ones I believe in the most and want to continue to cultivate, are unpaid events. The work I create that is paid usually doesn’t break even and rarely profits for the materials invested and travel expenditures acquired. I don’t have the luxury to consider time and labor costs for my endeavors: rehearsals, tech time, actual time spent developing, creating, and performing, or installing a piece. I have been a professional storyteller since age 11 and have a degree, a certificate, and an entire year of Master’s work under my belt invested in my performance career, as well as decades of touring, producing, artistic direction, directorship, teaching, and troupe management under my belt. To date I’ve performed in almost all of the States, in four countries, and on two continents.

The reason I do what I do is because I believe in humanity and I believe in the power of an engaged community. I believe culture moves toward meaningful progress and improves conditions for under-privileged people because individuals “do” something to push these important conversations forward. My writing of this blog, the performances I bring to stage, the visual art I create, and the subjects and ways I educate are all part of how I, as an individual and an artist, bring my personal resources to the table to try and effect change. I made a choice early on in my career to work for my own creative brain and to develop a performance/artistic aesthetic and mission of my own, and to speak with my own voice to the audiences I find. Rather than audition for the theater community at large, I believe that as a queer person, as a woman, and a person who comes from and lives in poverty, that my voice is needed in contrast to the straight, white, cis, ableist, middle-to-upper class, patriarchal environment we are governed by and exist within.

If you admire or are inspired by any of the ways that I produce as an artist or educator I ask you to become a patron of mine and contribute to my Patreon campaign. My patrons are the only steady (ish) source of income I have, and they are the reason I’m able to invest in my art further and further as time moves on. I currently make about $450 a month. This is the base pay I live off of, supplemented by whatever other gigs I am able to book, and some months there are very few or none. I would like this base of patronage to grow so I can spend more of my time creating my art, producing, teaching, and performing, and less of my time trying to book paying gigs outside of my primary focus. I publish paid content through my Patreon page six times a month. It’s possible for you to pledge at whatever level you wish and to cap the amount that you pay if you desire to. Any amount helps. Please donate, and please share. Thank you.

Play On My Friends,
~ Creature

Support my writing on Patreon. For one time Donations: Support the Artist or email.
This writing takes time, research, and consideration. It is my art. Thank you.

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