Introduction
Sarah Worthman from the LGBT Purge Fund states “Queerness was no longer seen as merely a criminal behaviour, instead to be queer became synonymous with being unpatriotic, traitorous, and even German” when speaking upon the history of LGBTQ+ members in WWI. During a time of gross indecency and other laws on the rise that were established by European settlers in an effort to erase homosexuality, World War I raged on which would eventually bring this marginalized group into the wartime effort. Because of the conscription crisis that had begun, Canada’s need for troops became larger than the ongoing systemic homophobia which was enforced through said laws. Criminalizing those who participate in intercourse that does not result in procreation, gross indecency was known to persecute queer individuals in the British Empire. However, queer performance was argued to be different from queer identity and was exempt from public ostracism. This started new revolutions in the queer community as it allowed self-expression and it would inspire several activism groups long after the war, even influencing the opinions of certain Canadian governments. From this, it is evident that this group has made a positive impact on Canada and the different levels of hierarchy within it. This essay explores the role of self-expression in the queer community during WWI, focusing on performances that challenged societal norms, and examines their lasting influence on Canadian activism and governance. By analysing historical examples, such as concert troupes, it argues that these contributions fostered greater acceptance, despite pervasive discrimination.
Self-Expression in the Queer Community
Self-expression within the queer community during World War I represented a subtle yet powerful form of resistance against the criminalisation of homosexuality under laws like those prohibiting gross indecency. In Canada, influenced by British imperial legislation, queer individuals faced severe persecution, including arrests and imprisonment for acts deemed non-procreative (Canadian Museum for Human Rights, 2023). However, the exigencies of war created spaces where performance allowed for expressions of gender nonconformity without immediate reprisal. Queer performance, distinct from personal identity, was often tolerated in military entertainment as a morale-boosting tool, arguably because it was framed as theatrical rather than authentic. This distinction enabled soldiers to explore and display queer identities through drag and impersonation, fostering a sense of community and self-affirmation amid systemic homophobia. For instance, such performances not only entertained troops but also subtly subverted patriotic narratives that equated queerness with disloyalty, as highlighted by Worthman’s observation. Indeed, this era marked an early revolution in queer visibility, where self-expression became a pathway to resilience. However, limitations persisted; while performances were exempt from public ostracism, they did not fully dismantle underlying prejudices, reflecting the complex interplay between wartime needs and societal biases.
Transitioning from these broader themes of self-expression, a prominent example emerges in the story of Ross Hamilton, known as ‘Marjorie’ in the Dumbells concert party. Hamilton, a female impersonator, embodied how queer performance integrated into the wartime effort, entertaining soldiers and later influencing post-war cultural landscapes. After the war, Hamilton retreated to Nova Scotia and passed away in 1965 at the age of 76. His death was noted in obituaries across Canada, which heavily referenced his persona Marjorie. Vancouver’s The Province, for example, wrote that she “sang and clowned her way into the hearts and memories of hundreds of Canadian soldiers” in an obituary dated September 30, 1965 (MacKenzie, 2006).
The Dumbells and Queer Performance in WWI
The Dumbells, a World War I concert party formed in 1917 near Vimy Ridge, France, exemplified how queer self-expression contributed to troop morale and Canadian cultural history. Comprising members of the Canadian army’s Third Division under Captain Merton Plunkett, the troupe included female impersonators like Ross Hamilton (‘Marjorie’) and Allan Murray (‘Marie from Montreal’) (MacKenzie, 2006). Their shows, featuring songs and skits about trench life, were performed at the front lines, carrying costumes and a piano to boost soldiers’ spirits. Highlights included patriotic tunes and comedic acts, with Hamilton’s performances of songs like ‘Hello My Dearie’ and ‘Someday I’ll Make You Love Me’ becoming particularly beloved. This troupe, named after the division’s dumbbell emblem symbolising strength, expanded post-armistice, merging with others like the Princess Patricia’s Canadian Light Infantry Comedy Company for productions such as HMS Pinafore in 1918 (MacKenzie, 2006). While queer identity faced criminalisation, these performances were tolerated, allowing impersonators to express gender fluidity openly. Critically, however, this acceptance was situational; it served military purposes but did not extend to civilian life, where gross indecency laws persisted (Canadian Museum for Human Rights, 2023). The Dumbells’ success continued post-war, touring Canada and even Broadway, influencing vaudeville and inspiring later queer activism by normalising diverse expressions.
Post-War Impact and Activism
The legacy of queer performances like those of the Dumbells extended beyond WWI, inspiring activism and shifting governmental opinions in Canada. Returning in 1919, the troupe conducted 12 cross-country tours, evolving from wartime revues to topical shows, and added women in 1928, reflecting gradual societal changes (MacKenzie, 2006). Their popularity, evidenced by hit songs and recordings, made stars of performers like Hamilton, challenging homophobic hierarchies. This visibility arguably paved the way for mid-20th-century queer rights movements, influencing decriminalisation efforts in the 1960s. Furthermore, groups like the LGBT Purge Fund highlight how wartime contributions countered narratives of queerness as unpatriotic, fostering broader acceptance (Canadian Museum for Human Rights, 2023). Nonetheless, persecution continued, with queer soldiers facing arrests under indecency laws throughout the wars, underscoring the limitations of performance-based tolerance.
Conclusion
In summary, LGBTQ+ individuals in WWI, through self-expression in performances like those of the Dumbells, positively impacted Canadian society by boosting morale and inspiring activism. Despite laws criminalising queerness, these contributions challenged prejudices and influenced governance. The implications suggest that wartime necessities can accelerate social progress, though true equality requires ongoing advocacy. This historical perspective, as a student of history, reveals the resilience of marginalised groups in shaping national identity.
References
- Canadian Museum for Human Rights (2023) Persecution of Queer Canadian Soldiers in Wartime. Canadian Museum for Human Rights.
- MacKenzie, M. (2006) ‘The Dumbells’, in The Canadian Encyclopedia. Historica Canada. Available at: https://www.thecanadianencyclopedia.ca/en/article/dumbells-the (Accessed: 15 October 2023).
