Part talent contest, part reality TV, RuPaul’s Drag Race has become one of the most radical competitions on our screens. The show is currently broadcasting its 13th season with no signs of slowing down. Since its steady beginning in 2009, the series has turned into a franchise with various spin off shows. During this time, Drag Race has received eight Primetime Emmy Awards (amongst many other nominations). Its success is undisputed and the series popularity has skyrocketed, suggesting a firm establishment within popular culture. The key to this success is hard to determine, but if there’s one thing Drag Race does well – it’s to perform. Whether its acting challenges, runway walks or choreographed dance routines, RuPaul’s Drag Race knows how to create a performance for its viewers.
There is a time for performance and a time for reality, and the show creates this divide in a balanced manner. During the work room sequences, RuPaul appears outside of drag, alongside the contestants. Exhibiting an eye-catching suit, Ru uses this time to speak to the queens about the week’s assignment. Although, these discussions are not without heart and draw attention to relevant issues within society. Last week’s episode saw contestant, Kandy Muse, show a deep scar on her arm which resulted from a gang attack. Issues such as violence and homophobia against the LGBTQ+ community are brought to the forefront of the series during these moments. For a brief period, the performance and glamour is dimmed, revealing the true individual behind the make-up and their everyday struggles. Although serious topics, the series handles them well and brings exposure to the difficulties facing those in the community.
However, the episode quickly shifts in tone when the final runway takes place. The lights shine brightly, ‘cover girl’ (by RuPaul) plays in the background and the main stage is set. RuPaul or rather ‘Mama Ru’ appears in a silhouette and ascends the runway in full drag. As ever – big hair, long dresses and high heels are guaranteed for the experienced queen’s appearance. RuPaul’s drag is mostly kept to the runway segments, which reflects that the stage (runway) is the time for performance – a clear separation from the reality of the workroom. The series locates itself into the workings of popular culture, with regular references to Jennie Livingston’s documentary, Paris is Burning (1990). Filmed in the mid-to -late 1980’s, the film documented the golden age of the New York City ballrooms of drag. Years later, the documentary would be added to the Library of Congress’s National Film Registry amongst other “culturally, historically [and] aesthetically significant” pictures. Categories, ‘reading’ (the art of ritual insult) and lip syncs were essential to house-ballroom culture and notably, are key to the structure of Drag Race. For example, last week’s episode saw contestants, Tina Burner and Utica lip sync against each other to avoid elimination. The element of performance within the series is an acknowledgement to the drag ball culture of the past. Although the show is deeply rooted within the present, references (such as Paris is Burning) reflect the series determination to remember our cultural history.
Every queen has a story, a look, an individuality that captivates viewers through their personalities. The variety of drag styles is extensive. Every contestant has a uniqueness that is reflected through their runway looks, drag personas and catchphrases. RuPaul’s Drag Race is an extraordinary blend of gender, sexuality and of course, performance. At its core, the series is a celebration and acceptance of who you are. It’s everything we need in 2021, and more.
References:
Pop! Goes the Queens (2021) RuPaul’s Drag Race, season 13, episode 12. Netflix.
Paris is Burning (1990) Directed by Jennie Livingston. Art Matters Inc, Miramax.
Complete National Film Registry Listing. Library of Congress. https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/
Please head over to the Terms and Conditions page to read more about our policies, here at StageSideUK
Jonathan Harper