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Camp can also be a social practice and function as a style and performance identity for several types of entertainment including film, cabaret, and pantomime. Where high art necessarily incorporates beauty and value, camp necessarily needs to be lively, audacious and dynamic. The visual style is closely associated with gay culture.[2]

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Camp art is related to and often confused with kitsch and things with camp appeal may be described as cheesy. In 1909, Oxford English Dictionary defined camp as "ostentatious, exaggerated, affected, theatrical; effeminate or homosexual"[3] behavior, and by the middle of the 1970s, camp was defined by the college edition of Webster's New World Dictionary as "banality, mediocrity, artifice, [and] ostentation ... so extreme as to amuse or have a perversely sophisticated appeal".[4] The American writer Susan Sontag's essay Notes on "Camp" (1964) emphasized its key elements as: "artifice, frivolity, nave middle-class pretentiousness, and shocking excess".[5]

In 1870, the crossdresser Frederick Park referred to his "campish undertakings" in a letter produced in evidence at his examination before a magistrate at Bow-street, London, on suspicion of illegal homosexual acts; the letter does not make clear what these were.[6] In 1909, the Oxford English Dictionary gave the first print citation of camp as

According to the dictionary, this sense is "etymologically obscure". Camp in this sense has been suggested to have possibly derived from the French term se camper, meaning "to pose in an exaggerated fashion".[7][8] Later, it evolved into a general description of the aesthetic choices and behavior of working-class gay men.[9] The concept of camp was described by Christopher Isherwood in 1954 in his novel The World in the Evening, and then in 1964 by Susan Sontag in her essay Notes on "Camp".[10]

The rise of post-modernism made camp a common perspective on aesthetics, not identified with any specific group. The camp perspective was originally a distinctive aspect of pre-Stonewall gay culture, where it was the dominant idiom. It originated from the understanding of gayness as effeminacy.[9] Two key components of camp were originally feminine performances: swish and drag. With swish featuring extensive use of superlatives, and drag being exaggerated female impersonation, camp became extended to all things "over the top", including women posing as female impersonators (faux queens), as in the exaggerated Hollywood character of Carmen Miranda. It was this version of the concept that was adopted by literary and art critics and became a part of the conceptual array of 1960s culture.[clarification needed] Moe Meyer[who?] still defines camp as "queer parody".[11][12]

Famous representatives of camp films are, for example, John Waters (Pink Flamingos, 1972) and Rosa von Praunheim (The Bed Sausage, 1971), who mainly used this style in the 1970s, created films which achieved a cult status.[18][19]

American singer and actress Cher is one of the artists who received the title of "Queen of Camp" through her outrageous on-stage fashion and live performances.[20] She gained this status in the 1970s when she launched her variety shows in collaboration with the costume designer Bob Mackie and became a constant presence on American prime-time television.[21][22] Madonna is another example of camp and according to educator Carol Queen, her "whole career up to and including Sex has depended heavily on camp imagery and camp understandings of gender and sex".[23] By some point of her career, Madonna was also named "Queen of Camp".[24]

Dusty Springfield is a camp icon.[25] In public and on stage, Springfield developed a joyful image supported by her peroxide blonde beehive hairstyle, evening gowns, and heavy make-up that included her much-copied "panda eye" look.[25][26][27][28][29] Springfield borrowed elements of her look from blonde glamour queens of the 1950s, such as Brigitte Bardot and Catherine Deneuve, and pasted them together according to her own taste.[30][31] Her ultra-glamorous look made her a camp icon and this, combined with her emotive vocal performances, won her a powerful and enduring following in the gay community.[29][31] Besides the prototypical female drag queen, she was presented in the roles of the "Great White Lady" of pop and soul and the "Queen of Mods".[27][32]

South Korean rapper Psy, known for his viral internet music videos full of flamboyant dance and visuals, has come to be seen as a 21st-century incarnation of camp style.[33][34] Geri Halliwell is recognised as a camp icon for her high camp aesthetics, performance style and kinship with the gay community during her time as a solo artist.[35][36] Lady Gaga, a contemporary exemplar of camp, uses music and dance to make social commentary on pop culture, as in the Judas video. Her clothes, makeup, and accessories, created by high-end fashion designers, are integral to the narrative structure of her performances.[37] Katy Perry is another example of camp with outlets like Vogue describing her as the "Queen of Camp".[38]

The words "camp" and "kitsch" are often used interchangeably; both may relate to art, literature, music, or any object that carries an aesthetic value. However, "kitsch" refers specifically to the work itself, whereas "camp" is a mode of performance. Thus, a person may consume kitsch intentionally or unintentionally. Camp, as Susan Sontag observed, is always a way of consuming or performing culture "in quotation marks".[39]

Sontag also distinguishes between "naive" and "deliberate" camp,[40] and examines Christopher Isherwood's distinction between low camp, which he associated with cross-dressing practices and drag performances, and high camp, which included "the whole emotional basis of the Ballet, for example, and of course of Baroque art".[41]

According to sociologist Andrew Ross, camp combines outmoded and contemporary forms of style, fashion, and technology. Often characterized by the reappropriation of a "throwaway Pop aesthetic", camp works to intermingle the categories of "high" and "low" culture.[42] Objects may become camp objects because of their historical association with a power now in decline. As opposed to kitsch, camp reappropriates culture in an ironic fashion, whereas kitsch is indelibly sincere. Additionally, kitsch may be seen as a quality of an object, while camp "tends to refer to a subjective process".[43] Those who identify objects as "camp" commemorate the distance mirrored in the process through which "unexpected value can be located in some obscure or exorbitant object."[44]

The Australian theatre and opera director Barrie Kosky is renowned for his use of camp in interpreting the works of the Western canon, including Shakespeare, Wagner, Molire, Seneca and Kafka; his 2006 eight-hour production for the Sydney Theatre Company The Lost Echo was based on Ovid's Metamorphoses and Euripides's The Bacchae. In the first act ("The Song of Phaeton"), for instance, the goddess Juno takes the form of a highly stylized Marlene Dietrich, and the musical arrangements feature Nol Coward and Cole Porter. Kosky's use of camp is also effectively employed to satirize the pretensions, manners, and cultural vacuity of Australia's suburban middle class, which is suggestive of the style of Dame Edna Everage. For example, in The Lost Echo Kosky employs a chorus of high school girls and boys: one girl in the chorus takes leave from the goddess Diana, and begins to rehearse a dance routine, muttering to herself in a broad Australian accent, "Mum says I have to practice if I want to be on Australian Idol." Australian writer/director Baz Luhrmann, in particular "Strictly Ballroom", constitutes another example.[citation needed]

The first post-World War II use of the word in print may be Christopher Isherwood's 1954 novel The World in the Evening, where he comments: "You can't camp about something you don't take seriously. You're not making fun of it; you're making fun out of it. You're expressing what's basically serious to you in terms of fun and artifice and elegance." In the American writer Susan Sontag's 1964 essay Notes on "Camp", Sontag emphasized artifice, frivolity, nave middle-class pretentiousness, and shocking excess as key elements of camp. Examples cited by Sontag included Tiffany lamps, the drawings of Aubrey Beardsley, Tchaikovsky's ballet Swan Lake, and Japanese science fiction films such as Rodan, and The Mysterians of the 1950s.[citation needed]

In Mark Booth's 1983 book Camp, he defines camp as "to present oneself as being committed to the marginal with a commitment greater than the marginal merits". He makes a distinction between genuine camp, and camp fads and fancies, things that are not intrinsically camp, but display artificiality, stylization, theatricality, naivety, sexual ambiguity, tackiness, poor taste, stylishness, or portray camp people, and thus appeal to them.[citation needed]

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