Who gets to define what counts as art when a genre is in flux? In the present analysis, I find that legitimated artists may also be able to act as intermediaries, such as critics and gatekeepers. In doing so, these artists-as-intermediaries, under certain conditions, can shift the meaning of the genre as it transitions. Using the current transition of drag performance from scene-based to industry-based genre as a case, I present a multistage qualitative analysis of televised and digital drag performance. I report three key findings from this analysis: (1) some legitimated artists can become intermediaries when their genre is in transition, (2) these legitimated artists-as-intermediaries can influence genre expectations, and (3) legitimated artists-as-intermediaries’ influence on genre expectations can, in turn, influence the creative expression of other artists. Each of the three findings, however, has the effect of limiting creativity of the artist-as-intermediary and future artists within the industry-based genre.

中文翻译：

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世界超模：合法性对拖曳音乐录影带的类型和创造力的影响

当流派不断变化时，谁来定义什么才算艺术呢？在目前的分析中，我发现合法的艺术家也许还可以充当评论家和看门人的中介。这样，这些作为中介的艺术家在一定条件下可以随着类型转换而改变其含义。以当前拖动性能从基于场景的风格到基于行业的风格的转变为例，我对电视和数字拖动性能进行了多阶段的定性分析。我报告了此分析的三个主要发现：（1）一些合法艺术家在其类型转换时可以成为中介；（2）这些合法艺术家作为中介可以影响类型期望；（3）合法艺术家作为中介'对体裁期望的影响又可以 影响其他艺术家的创作表现。但是，这三个发现中的每一个都具有限制以艺术家为中介的艺术家和未来艺术家在基于行业的类型中的创造力的作用。