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"Dung Hà occupies a rare and deeply complicated place within Vietnam’s LGBTQ+ past, remembered both as a feared crime boss and as a murder victim whose death helped unravel one of the largest organized-crime scandals in modern Vietnamese history. Beyond the violence and underworld mythology that came to define her legacy, Dung was also a gender-nonconforming woman who dressed almost exclusively in masculine clothing and maintained highly visible relationships with other women. And despite the fact that homosexuality remained deeply stigmatized and largely underground throughout Vietnam at the time, Dung made little effort to conceal either her masculine presentation or her same-sex relationships. Though she never publicly identified herself using contemporary terms like lesbian, bisexual, transgender, or nonbinary, her open departure from conventional expectations of gender and sexuality made her an unusually visible queer figure in 1990s Vietnam. Ultimately, Dung’s LGBTQ+ significance within history is inseparable from the contradictions of her life: she was neither an activist nor a conventional role model, but a complicated figure whose queerness existed openly within one of the most masculine and unlikely corners of Vietnamese society."

"Though she is more often remembered for the scandals she caused than for her artistry, Anita Berber was nevertheless one of the most daring and innovative performers to emerge from Germany during the early twentieth century. A dancer, choreographer, silent film actress, fashion model, poet, cabaret artist and muse, she used her body and public image to challenge conventional ideas surrounding gender, sexuality, female respectability, and artistic expression. Her dances explored taboo and scandalous subjects like addiction, lust, pregnancy, madness, suicide, disease, and death, while her cropped red hair, exaggerated makeup, tailored suits, ties, and monocles helped shape the androgynous image of the Weimar Republic’s “New Woman.” Openly involved with both women and men, Berber also became a visible presence within Berlin’s gay and lesbian circles, folding her queer personal life into the provocative persona she presented onstage. At a time when women’s bodies were generally displayed for male pleasure, she instead made her own an erotic but often disturbing medium through which audiences were forced to confront subjects they might otherwise avoid. Yet, despite the abundance of media and publications devoted to Berber, a historically reliable account of her life remains difficult to reconstruct. Newspapers at the time eagerly sensationalized her arrests, addictions, sexual affairs, and theatrical disputes, while Berber herself understood that notoriety sold tickets and deliberately blurred the boundary between her stage persona and private life. Meanwhile, after her death, fictionalized biographies and popular histories further embellished her exploits, turning her into an almost mythical symbol of Weimar decadence. More recent scholars, however, have attempted to look beyond that mythology to reexamine and reclaim Berber as a serious cultural producer and an early and important performance artist who consciously transformed her body, sexuality, and celebrity status into interconnected forms of creative expression."

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