Queer Art with a History
In a world where gender is widely seen as a binary, drag is an art form that’s not just about transforming bodies but also challenging societal norms. Although it has risen to prominence and fame in the last few decades, drag is actually a global trend that has spanned eons. We see this from the exaggerated shows of visual power in Ancient Egypt to Shakespearean masquerades to the vaudeville stylings of the Harlem Renaissance. Joe E. Jeffreys, a drag historian and NYU instructor, says, “Drag is the theatrical exaggeration of gender.” Throughout history, the theatrical nature of the art form has manifested itself on many different stages, from politics to ballrooms to television screens.
Ancient Egypt
Picture this: the great Pharaoh Hatshepsut. She sits upon her royal throne, clad in a man’s headdress and a false beard, holding the instruments of a king. Her eyes are cloaked with thick liner, her lips smeared with red pigment. To what end does she blur these lines of gender expression?
It had been six dynasties since the last Egyptian queen. Following the reign of her husband Pharaoh Thutmose II and the men preceding him, Hatshepsut needed to gain the trust of her people. Her subjects, however, were hesitant to grant a queen the same credence as a king. She had to take on the appearance of her male predecessors to portray the credibility needed to effectively run an empire. Makeup was largely non-gendered at the time, so it further emphasized her outward presentation as male. The expression of her power in the style of the male gender served as a launching point for her rule.
Though she never performed in the sense we associate with drag queens and kings today, her gender performance was crucial to her power as a female ruler. Her gender presentation allowed her to cement her divine rule in the annals of history.
Ancient Greece and Rome
Now let’s move to the stage. Can you picture the comedy and tragedy masks of Ancient Greek and Roman fame? Ancient Greek theater often forbade women from performing onstage, and so male actors were given female roles. Female impersonation played a role not only in stage productions for the purpose of entertainment but also in religious contexts. Boys were asked to dress as women during ritualistic performances of myth and legend, portraying the beauty of the goddesses through costuming and makeup. This expression of femininity as larger than life showed the power female figures held in Ancient Greek society. The impersonation thereof proved the magical nature of visual womanhood, whether portrayed by men or women.
Shakespeare’s England
Fast forward to Elizabethan England, where legendary playwright William Shakespeare was rising to prominence in the theatrical world. In a time when women were banned from the stage, men would portray both male and female roles. These actors donned exaggerated wigs, corsets, and long frilly dresses to bring iconic female characters like Juliet and Lady Macbeth to life. Shakespearean theater was a spectacle of gender-bending, a theater of drag.
England in the 1800s
Drag in England remained, although the queerer, less socially acceptable versions of it were kept more undercover in later years. The 1800s saw the emergence of Molly houses. These were semi-secretive meeting places like taverns or coffee shops for gay men to mingle, often dressed as women. People have often skirted laws against homosexuality while socializing in drag.
The term “drag” itself is thought to have come from this Victorian era. Masquerade balls of the time were called “grand rags”. Shorten this, and what do you get? Drag! Other guesses as to where the word originated are from stage directions. Speaking lines would be prefaced with “DR.A.G”, which stood for “dressed as a girl”. It could also reference the way the long gowns “dragged” across the floor.
Drag in the United States
Drag in the United States is a little more recent, given the age of the country as we know it. Here’s where it gets a little rough – exaggerated costuming became not only associated with the performance of gender but also the performance of racist caricatures. The 19th century saw the rise of minstrelsy in America in an attempt to quash the spirits and political power of African Americans after the abolition of slavery.
Actors would crudely apply shoe polish to their faces and paint oversized red smiles around their lips. They would speak in exaggerated accents and move about the stage clumsily, putting on a variety of skits, songs, and comedic routines that lampooned African Americans, perpetuating racist stereotypes and caricatures. Though minstrel shows originally stuck to racist emulations of Black men, performers extended their reach across the aisles of gender, with full-figured men dressing as characters like Aunt Jemima and “mammy” figures.
Vaudeville
At this time, vaudeville rose to popularity in both England and the United States. Vaudeville was a type of variety show that featured comedians, singers, and, of course, drag performers. Its introduction into American culture broadened the audience of minstrel shows and made them more expansive, not just targeted at Black people. Minstrelsy would still show its face in vaudeville, just not as aggressively, since performers would imitate people of all races.
These hugely popular stages showcased the talents of drag queens who often impersonated famous actresses of the time, blending humor and glam. At one point, the second highest-paid actor in America was a female impersonator, Julian Etange. Vaudeville is widely seen as a predecessor to the variety shows that drag performers put on now. Shows jam-packed with comedy, music, pantomime, and fashion have entertained for years.
Drag Balls
Drag balls have long been places for queer people to safely socialize with their own. During the 19th and 20th centuries, homosexuality and crossdressing were illegal. More affluent gay men would host these balls in their homes in secret. That being said, America’s first self-proclaimed “drag queen”, William Dorsey Swann, was a formerly enslaved man. Though he was born to enslaved parents in Maryland, he moved to Washington, DC once he was free. Here he began hosting drag balls in the 1880s and ‘90s. These were frequented by other formerly enslaved queer men. Since the attendees were discriminated against both on the basis of race and sexuality, the balls were often targets of police raids.
20th and 21st Century Politics
Apart from providing entertainment in theater and parties, drag has also proven itself to be an integral part of queer politics. Drag has shown its face in politics over and over. The Stonewall Riots of June 1969 were attended en masse by queer people of all identities, drag queens included. As for representation in public office, there are only a few examples. Drag queen José Sarria ran for the San Francisco Board of Supervisors but ultimately was not elected. Queen Maebe A. Girl was the first actually elected – in 2019, the Silver Lake Neighborhood Council welcomed her to their numbers. Clearly, California is at the forefront of drag (and overall queer) visibility in politics.
RuPaul – Drag for the Masses
The late 20th and early 21st centuries introduced the world to the charisma of RuPaul Andre Charles, known professionally as RuPaul. RuPaul brought drag as a queer art form to the masses. An American drag queen, singer, songwriter, actor, and television personality, he is best known for hosting the reality TV show “RuPaul’s Drag Race.”
He began his career performing in New York City in the 1980s and achieved international fame with his debut album, “Supermodel of the World,” which featured the hit single “Supermodel (You Better Work).” most significant contribution to popular culture is his role as the host and executive producer of “RuPaul’s Drag Race.” The show, which first aired in 2009, is a reality competition series where drag queens from around the United States (and in various international versions) compete in a variety of challenges to win the title of “America’s Next Drag Superstar.” Critics and fans alike have praised the show for its celebration of diversity, inclusion, and LGBTQ+ representation.
RuPaul has clearly left his mark on culture. He received the GLAAD Media Award, and was included in the Time 100 list of the most influential people in the world. His books, including his autobiography “Lettin’ It All Hang Out” and his beauty and self-help guide “Workin’ It!” have become massively popular in queer and drag communities.
RuPaul’s impact on mainstream culture, particularly in promoting the art of drag and celebrating LGBTQ+ identities, is substantial. His charisma, uniqueness, and talent have made him a beloved figure in the entertainment world, and he continues to inspire and empower people around the globe.