There’s “Werq” to Be Done and We’ve Never Needed Drag More

Opinion

4 Apr

Written By Thiiird

The American ban on drag shows, denial of gender-affirming care and transphobic media herald our arrival in a particularly dark part of our cultural history. Western government is currently in a right-wing chokehold, where protest is silenced along with anyone existing outside the cis-hetero-white norm – and who knew drag queens were so threatening to politicians?

By Sara O’Rourke

Luckily, over the past fifteen years, an army of drag queens has been assembling in the mainstream due to RuPaul Charles’ million dollar drag empire, anchored by hit reality competition show RuPaul’s Drag Race. Now a global franchise, the show has spawned generations of performers who have grown up watching it, and become a gateway to worldwide stardom. Drag Race has come a long way since its hazy Season 1 days, growing beyond a foundation of campy fun into a global platform for change, but it hasn’t always been a smooth ride; it has taken time for the show to make space for trans and non-binary queens, and for the show’s figurehead to develop a better attitude toward non cis male queens in the media. So it’s fortunate that Ru and her team are educating themselves and maximising opportunities for diversity, just in time for one of the biggest fights for American LGBTQ+ rights in recent history.

RuPaul has always described drag as a political act. The Republican party appear to be feeling very threatened by the popularity of an artform that, by its very nature, seeks to subvert social norms. From high heels to full Klub Kid couture, the ruling binary is crossed when men shamelessly adopt femininity. Modern drag is a place where a whole spectrum of playful gender experimentation can flourish, and Drag Race is the biggest stage on which to display the results. It’s incredibly empowering – and this is why we love drag – but it is getting dangerous. Government policy makers are using the safeguarding of children as reason to criminalise drag performance, implying that all drag is sexualised and unsuitable for a family audience. Just as history has vilified homosexuality by seeing it as a perversion akin to paedophilia, drag performance is being purposefully misinterpreted as a means of grooming. Denying access of healthcare to young people experiencing gender dysphoria is the GOP’s other mission, and arguably the main goal on this path back to pre-Stonewall America.

Photograph: Lyla Maeve/The Glory

Why should we care in the UK? Well, that “special relationship” we’ve had with the US involves a prolific industry of cultural exchange and market leadership in entertainment. We consume and import so much US media, social media and news that our own cultural biosphere is hugely influenced by American social rhetoric – as are those of our leaders. And the less said about our own blue-tied Bullingdon bigots, the better.

Looking back at previous seasons from Drag Race, you can see a pattern of politically themed challenges, and reminders for viewers to register to vote when seasons have been aired in election years. Prior to 2015, we were still in Obama-land, encouraging political activism. When 2016 hit and the first 100 days of Trump’s administration had already taken the US some way back to the Depression, the mainstream media struggled for material more farcical than reality, and Drag Race became visibly anti-Republican and loudly Anti-Trump.

“Just as history has vilified homosexuality by seeing it as a perversion akin to paedophilia, drag performance is being purposefully misinterpreted as a means of grooming.”

When introducing political challenges, Ru walks the line between provocative and preachy with careful scripting. In the “Choices” episode of Season 12, the show’s then most overtly political season, Ru declared her mission and outlined the brief of the day: “We at RPDR urge everyone to vote… to lift the spirits of the candidates and their hard-working supporters, we’d like to provide some comic relief.” The episode saw Jackie Cox’s stunning runway look of an American flag inspired hijab, before she went on to perform an incredibly powerful lip sync to Katie Perry’s “Firework” in the outfit. Guest judge Jeff Goldblum was moved to tears, which was clearly featured in the post-production edit. The team surely saw an opportunity to make the most of Cox’s important message: that immigrant Americans, and all Americans, are valued and beautiful.

“You cannot help but be struck by the queens’ polite sadness at horrific injustice.”

Photograph: Lyla Maeve/The Glory

From here on in, casting got serious. Season 13 was revolutionary in that the first AFAB trans drag queen, Gotmik, was cast, and with her came conversations about what drag can look like and how all presentations of gender and drag are valid. This paved the way for the next cast, as Season 14 included five trans identifying queens – including Kerri Colby, whose bold baby blue and pink entrance look was a proud tribute to her identity. In 2022, Season 14 saw the first casting of a heterosexual queen in the American series: Maddy Morphosis. Promptly outed by Ru during her first walkthrough, it was clear that the producers were keen to shine a light on their inclusion; regardless of any criticism in the fandom, it acted as another way to dip a toe into further, authentic inclusivity. Later that year, in Canada’s Drag Race Versus the World, the script was flipped again when returning UK queen Victoria Scone, already a controversial contender as the first cisgender woman to appear, flaunted her drag king underwear look for the “Air, Body, Lace” runway challenge. Old expectations were dissolving – a corner had undeniably been turned.

Several political figures have made appearances across the franchise, showing their love and support for the casts. Speaker of the House of Representatives and member of the Democratic party Nancy Pelosi appeared on All Stars Seasons 3 and 7. She spoke of the queens’ freedom of creative expression as being “what America is all about,” and shared an inside joke with Ru and the girls about clapping for Trump. Television moments like this are a true demonstration of the connections and sheer clout the enterprise has gained since its inception in 2009. Congresswoman Alexandria Ocasio-Cortez was another Democrat guest judge and superfan to share her support. The genuine passion she exuded from the judging panel was a notable seal of approval from the progressive wing of the establishment, and served as much needed currency for future defence from the right.

“It is a precious thing to be able to question, whether that is gender constructs or anything else; those already with targets on their backs are the eloquent defenders of their own cause.”

We get the emotional backstories, prompted by producers, as we do with many other shows where the cast members are chasing their dreams – but the difference here is that little bit of space given over to the thoughts and feelings of performers on the discriminatory politics they face. You will notice a lack of profanity, and respect for each other’s points of view. Crystal Method’s softly spoken description of trying to “provide education” for her Trump-supporting parents and her castmates’ agreement about “terrible racist policies” is touching; you cannot help but be struck by their polite sadness at horrific injustice. They don’t scream or shout, only choose words carefully, giving calm and measured opinions. Stories of being put on No Fly Lists in the wake of the Trump administration due to their heritage, of having friends killed in the Pulse Nightclub shooting, of the pain at being unable to access healthcare providers supportive of their transition, or of feeling newly afraid in their own neighbourhoods are sentiments generously shared. Drag Race should not be polarising – the comments of the cast are moderated and measured personal stories, that amongst the pop drama and sassy banter, support the cis world, the white world, and the mainstream in understanding that little bit more.

Drag Con, the fan convention associated with the show, has increasingly become a space for political discussion, with groups such as the American Civil Liberties Union being invited to provide information on how fans can get involved in activism. Many of the queens themselves have been propelled to speak out against homophobia, transphobia and now the criminalisation of drag itself – an unnerving prospect for so many creators that rely on this industry for an income. The patience and articulateness of many queens is their arsenal. Since “Paris is Burning”, the 1990 documentary film chronicling the “house” culture of drag queens in New York, drag artists have been seen as marginal and risqué, but the openness, honesty and dignity emanating from these circles across social media is redefining the artform. It is a precious thing to be able to question, whether that is gender constructs or anything else; those already with targets on their backs are the eloquent defenders of their own cause.

Drag is a legitimate and beautiful artform, at international and grassroots level. It is a powerful tool for self-expression and an important part of the LGBTQ+ rights story. Drag Race has given us all an entrance into its beautiful and diverse world, and while it is certainly not an exhaustive resource, it is a vital platform in the fight to protect drag performers and other members of the LGBTQ+ community from the disgusting homophobic practices of our age. The greatest gift the franchise has given us is the projection of the message that the LGBTQ+ population is not “marginal”, “fringe”, or inferior in any way. The stories of these artists, cast and judges alike, demonstrate the simple fact that we are worthy, and not only that we are not going anywhere, but that we have a louder voice than ever before – and that we’re going to fight like never before.

Drag is powerful, and so are you. Stay alert, make art, use your vote, and use your voice.