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La Voix on why drag belongs in family entertainment

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  Published in Media and Entertainment on Saturday, October 11th 2025 at 13:56 GMT by BBC
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La Voix’s feature “Why Drag Belongs” offers a thoughtful examination of drag as a vital cultural practice that transcends entertainment to become a powerful form of political expression, identity formation, and community building. The piece weaves together historical context, contemporary examples, and scholarly insights to argue that drag is not merely a spectacle but a resilient tradition that shapes and reflects the evolving narratives of LGBTQ+ communities worldwide.

Drag’s Historical Roots and Evolution

The article opens by tracing drag’s lineage back to the 19th‑century European theater, where gender‑fluid performances were a staple of commedia dell’arte and the Parisian cabaret scene. It highlights how, in the United States, drag flourished within speakeasies and nightclubs of the early 20th century, with icons such as Josephine Baker and Sophie Tucker challenging prevailing gender norms. The piece then moves to the mid‑century period, noting that drag began to crystallize as a subcultural practice within the burgeoning gay liberation movement of the 1960s and 1970s, especially after the Stonewall riots. By the 1980s, drag queens had become visible public figures in cities like New York, Los Angeles, and San Francisco, using the art form as a form of protest and visibility during the AIDS crisis.

The article also examines how drag’s aesthetic vocabulary—hyper‑feminine makeup, elaborate costumes, and performative exaggeration—has been continually adapted. The rise of the “drag queen” in mainstream media, beginning with RuPaul’s “Superstars of Drag” in the 1980s, helped to shape contemporary drag’s dual identity as both counter‑culture and commercial spectacle. This duality, the article notes, underpins drag’s unique capacity to oscillate between authenticity and performative critique.

Drag as Political and Social Commentary

A central theme of the piece is the use of drag to foreground issues of gender, sexuality, race, and class. Through interviews with a range of performers—from seasoned queens like Jinkx Monsoon to newer voices such as Tatianna—the article illustrates how drag is leveraged to challenge normative hierarchies. One poignant example involves the use of drag to critique the commodification of queer identities within the entertainment industry, a point echoed by scholars such as Judith Butler and H. Richard Niehaus, whose works on performativity and gender performative practices are cited.

The article also delves into how drag has become a vehicle for community resilience. In neighborhoods that have historically faced gentrification and marginalization, drag shows often double as safe spaces where residents can gather, share stories, and organize around local social justice initiatives. The writer references a 2022 study from the University of California, Berkeley, which documents how queer venues, including drag clubs, serve as "third places" that foster solidarity and collective action against systemic oppression.

Drag in the Digital Age

In a digital‑era subsection, the article discusses how platforms such as TikTok, Instagram, and YouTube have democratized drag. It highlights that performers like Sasha Velour and Keke Palmer have utilized these mediums to reach global audiences, thereby amplifying drag’s reach far beyond traditional nightclub walls. Moreover, the writer points out how online communities have become crucibles for the creation of new drag styles and for the distribution of educational content, such as tutorials on makeup techniques and costume construction. The piece also touches on the emerging phenomenon of “virtual drag shows” that surfaced during the COVID‑19 pandemic, which enabled artists to keep performing and communities connected despite physical distancing mandates.

Drag and Intersectionality

The article makes a concerted effort to explore intersectionality within drag. It cites examples of Black drag queens like Pepper and Tasha the Tash, whose performances emphasize the historical role of drag in African‑American communities, especially within the context of the Harlem Renaissance. Likewise, it references the rise of trans‑drag performers, such as Billy Porter, who bring nuanced discussions of gender identity into the mainstream. The writer also discusses the increasing visibility of LGBTQ+ people of color in drag competitions, citing the success of artists such as Gigi Goode and the diverse winners of “RuPaul’s Drag Race” in recent seasons.

Institutional Recognition and Criticism

While celebrating drag’s cultural significance, the article does not shy away from critiques. It references the ongoing debate about appropriation and cultural commodification—particularly regarding drag’s commercialization by large corporate entities. The piece highlights concerns from scholars like Sarah K. P. Anderson and activists who argue that the mainstreaming of drag can dilute its subversive roots. At the same time, the writer showcases how drag institutions such as the Museum of the Moving Image’s “Drag Culture: From the Early Days to Today” exhibit are attempting to preserve drag’s heritage and contextualize its evolution for broader audiences.

The Future of Drag

In its conclusion, the article projects forward, suggesting that drag’s future will likely involve a more inclusive, hybridized form of performance that blends traditional theatrical elements with new media. It underscores the need for continued advocacy to protect queer spaces and to address the financial instability many performers face. By positioning drag as an evolving dialogue rather than a static art form, the piece invites readers to recognize drag’s ongoing role as a catalyst for societal change.

Follow‑up Sources

Throughout the article, several external sources are cited:

• The New York Times: An interview with RuPaul that examines the economics of drag touring.
• The Guardian: A feature on the role of drag in the recent Paris Pride celebrations.
• University of California, Berkeley: A 2022 sociological study on queer spaces as “third places.”
• Museum of the Moving Image: Information on the “Drag Culture” exhibit, which provides historical context and visual documentation of drag’s evolution.

By weaving together these diverse strands, La Voix’s piece offers a comprehensive, nuanced portrait of drag as an art form that is deeply embedded in cultural politics, community resilience, and personal identity. The article encourages readers to consider drag not merely as a spectacle but as an essential and dynamic vehicle for social critique and transformation.