Decolonize Drag

Decolonize That!

by Kareem Khubchandani, Bhakti Shringarpure (Contributor)

Although imagined as a subcultural practice, drag seems to be everywhere we from AI filters on TikTok and SnapChat to brunchtime entertainment, from state legislations to political rallies. The pervasive presence of drag can be attributed to the intense popularity of reality TV competition RuPaul's Drag Race.

The show, screening its fourteenth season in 2022, is an unprecedented global queer phenomenon, spawning official spinoffs and a host of other series worldwide. Yet as drag enters the mainstream through this particularly fabulous, feminine, and commercialized format, some kinds of gender-based performance fall out of the purview of what we (could) call drag, and are at risk of erasure.

Decolonize Drag details the ways that gender is used as a form of colonial governance to eliminate various types of expression, and tracks how contemporary drag, including that on Drag Race, both replicates and disrupts these institutional hierarchies. This book focuses on several gender performers that resist and laugh at colonial projects through their aesthetic practices. It also features the voice of Khubchandani's drag alter ego, judgmental South Asian aunty LaWhore Vagistan. From the firsthand perspective of a drag artist, LaWhore describes encounters with depoliticized versions of drag that leave her disappointed and perplexed, and prompts Khubchandani for context and analysis.

Their dynamic sets the tone for the book, investigating how drag—and gender more broadly—has been privatized and delimited so that it's only available to certain people. Decolonize Drag argues for more abundance in and access to fashioning gender, and considers how drag changes meaning and efficacy as it shifts across geographies.

Genres: Queer, Nonfiction, LGBT, Gender, Pop Culture, Feminism, Sexuality

224 pages, Paperback

First published November 1, 2023

Reviews

[Gerhard · Rating 5 out of 5]

The chapter on NeolibeRulism: RuPaul's Empire of Drag is worth the admission price alone. The idea of Mama Ru as a global hegemonic driver of heteronormative patriarchy, albeit in drag, is provocative but analysed with great nuance here. Plus, the decolonial concept of the 'drag industrial complex' is priceless. Entertaining and hugely RuLevant in our current climate of gender and culture wars around identity affirmation, found family, and simple expression of self. And because you can never have enough Ru puns: a truly RuMinating read.

[Joey Rauch · Rating 4 out of 5]

I got this book having read Khubchandani’s wonderful 2015 article “Lessons in Drag” where Kareem interviews LaWhore about her work. That scholarship had taught me something that Kareem writes about later in the book: political work “looks like laughter, enthusiasm, and fun (pg. 136).”

Decolonize Drag simultaneously details drag from an academic, popular, and personal perspective. Some of my favorite moments include:
- Ethnographies of nightclubs, especially scenes where Khubchandani credits queens for working with contradiction or visualizing labor.
- Making her own RuPaul puns in Chapter 3, especially “neolibRUlism.”
- LaWhore’s introduction and outroduction, nicely bookending the academic tone.

For myself, the beginning started a little slow as Kareem laid out more basic concepts defining drag in comparison to gender and in relationship to white supremacy. Not to say that that’s not important writing, I just personally felt like I had been exposed to these debates. However, I think this is a great book for an introduction to critical performance studies and a vision for what contemporary drag could and should become!

[Bek (MoonyReadsByStarlight) · Rating 5 out of 5]

This has so much great commentary about what drag is in a variety of cultures (outside of white-washed pop culture). This critiques RuPaul's drag empire really well (from a fan of the franchize) and gives examples of how drag has been done and how it talks about far more than just gender. It ends with more about how to do decolonized drag (and how we should all go out there and fuck it up!). I would have loved for this to be even longer and more in depth, but it was still really great!

[Isobel · Rating 5 out of 5]

read an article by this scholar in fall term and it was really good so I was delighted to come across this book! super interesting and important topic that I didn’t know much about previously, written in a way that is both accessible and very informative. loved!!!

[Nadine · Rating 5 out of 5]

Honestly I have no critique to give this book so it's a 5/5 for me–I thoroughly enjoyed reading it.

I found this book while browsing at the Brick Lane Bookshop in London, and was immediately intrigued. As a consumer of RuPaul's Drag Race and enjoyer of drag shows in general, I never really put much thought into decolonizing it. You would think that drag as an art form and how it's conveyed to the general population is subversive enough that there doesn't need to be any more work done (or maybe I was just too ignorant and I am here admitting that), but Kareem Khubchandani gives such an insightful analysis on this topic, and invites readers to "expand the drag we legitimate." Because what even is drag? What constitutes as drag? Who is allowed to do drag, especially in shows like RPDR? Khubchandani reminded me that drag as I know it (from RPDR and drag shows and pop culture) is not the only form of drag out there that exists. Drag is not always sequins, death drops and extravaganzas as portrayed in RPDR–this type of drag is expensive and really inaccessible for many. Anyway, I loved learning about the different types of drag artists and performances in this book, and loved broadening my scope of knowledge about drag in general.

I appreciated this book's chapter (Ch. 3) on NeoLibRulism and RuPaul's Drag Industrial Complex so much, and it was so eye-opening reading about it. Of course, this is not to say that RPDR hasn't done wonders for bringing drag and drag artists into the mainstream, but there is much that can be improved. Given how much wealth and following RP has amassed through his empire, wealth that has been made possible through these very drag artists, I'm disappointed in how little work RP does to uplift drag artists post-filming or even to talk about the political nature of doing drag. The book provides good critiques on Ru's drag empire, and it opened my eyes to how much RuPaul actually plays into neoliberalist systems that make her successful, while also subjecting the very drag artists that are showcased in RPDR to violence.

Loved this!!!

[Keelin Rita]

If you like drag, Drag Race, Trixie and Katya, queerness, etc., I highly recommend this book. This is an academic in nature text (I could take a course on this it was so fascinating), but it is VERY accessible and also quite introductory despite providing details. I always encourage white people to engage more critically with queer culture, and to understand the role of white people and white preference in how things are shaped, and how they are determined to be legitimate. I personally had some previous knowledge relating to this topic, and knew there was an imbalance favoring whiteness and the rigid gender binary in drag, but this expanded on my knowledge and gave me the information I needed to better understand my suspicions. Khubchandani really knows what he's talking about and I love how he spoke about drag: critically and with love. It is possible to both love something and be critical of it, and I think Khubchandani walks that line so well.

Also he works at the same university as my friend so obviously I'm going to try and get her to read this and then be his friend.

[lil · Rating 4 out of 5]

loved reading this while watching drag race for the first time

[blastdamagedays · Rating 4 out of 5]

I decided to pick this up after a vendor from my local anarchist bookfair waxed poetic to me about it. I'm so glad I did. In fact, I loved this book so much I emailed the author as soon as I finished it just to tell him everything I thought was great about it. This is more or less what I had to say:

First, LaWhore Vagistan is the funniest drag name I've heard in a long time.

Right off the bat, the image of Kristy Yummykochi being disrobed by ICE agents was so powerful and haunting it had me in tears. I knew then, that I was in for a compelling read.

Going in, I expected a critique of drag, and this is what I got. But more than just being a sharp, well-informed and nuanced critique of the current state of drag as an art form and the way it's perceived by the mainstream, it's a celebration of its (too often unmet) potential. Khubchandani's passion for drag is palpable throughout the entire book, as is his admiration for his fellow artists.

I love that he consistently brings up examples of decolonized drag done right, by performers whom he speak of with so much reverence. Had I been one of these artists, I'd be very proud to have been featured in his work. This also speaks to his credibility: it's obvious he knows what he's talking about.

I also appreciate the way he applies his own critical theory to himself, for example by considering whether his call to decolonize drag is itself a colonizing move, or naming LaWhore Vagistan alongside other Asian queens who "[draw on] cutesy racialized wordplay ... to make themselves legible".

Khubchandani's humble approach, his ability to speak from a place of love without ever mincing his words, as well as his self-awareness, are what makes him stand out from other authors of critical theory who, in my opinion, tend to be overly preachy, patronizing and scolding in tone, bordering on whinyness. This makes these works annoying for me to read even when I agree with what is being said. Decolonize Drag is not like that. It is fun and lighthearted throughout.

Another cool thing is Khubchandani frequently gives shout outs to drag kings, who more often than not are underappreciated and left out of conversations on drag.

Now that I've read this book, the connection between gender and culture seems so obvious that I feel almost silly for not noticing it before. This is despite being well aware of the uniqueness my local drag scene as a result of its cultural and linguistic distinctions (I'm from Québec). Similar to LaWhore Vagistan, drag queens in Québec frequently play on the matante (Québécoise aunty) stereotype. However, their performance is completely different from that of LaWhore Vagistan despite also incarnating an "aunty" trope, because as Khubchandani explains it in his book, gender doesn't exist in a vacuum- it is informed by a host of other things including culture, race, ethnicity, geography, as well as class and disability status. (Another crucial thing is the matante represents the settler, the colonizer- not the colonized.) Thus, a Québécoise aunty is not a South Asian aunty is not a Mexican aunty and so on.

I couldn't describe in English what a matante is and how she differs from other aunties because language is so crucial to her character. If she doesn't speak Québec French, with all its quirks and eccentricities, she ceases to be a matante. And this is, unfortunately, where I have to remove one star from what would otherwise be a 5 star book: Khubchandani never addresses the topic of language or dialect. I was excited for him to explain how language impacts his performance of LaWhore Vagistan, but that moment never came. In my opinion, this makes his analysis incomplete. What does it mean to perform a character from a non-anglophone culture in an anglo-centric context? What does it mean to have to perform in the colonizer's language (whichever language it may be)? In doing so, what are the nuances that get lost in translation? This is only a sample of the many relevant questions that were sadly never explored. This is somewhat baffling given the role that language plays in the colonizer's toolkit.

I nonetheless consider Decolonize Drag to be required reading for everyone who partakes in drag -fan or performer- and everyone who thinks of themselves as understanders of gender. It is brilliant and thought-provoking. I plan on bothering all my friends about it until they decide to read it.

[Pete · Rating 4 out of 5]

so i guess i do drag now, and that gives me a peripheral frame of reference for a decolonized practice of performance. overall, i feel justified in the artistic choices i've made so far, challenged to tweak my presentation in ways unforeseen, and craving more of the drag described throughout. after all, written word can only capture a spark of the lightning that electrifies live entertainment.

[Nellie · Rating 3 out of 5]

Irreverent and informative for the uninitiated, but ultimately kinda tepid in its claims, at least in my view. This reads very much like a handbook for cis white drag queens to become more enlightened about decolonial, transfeminist viewpoints. And that’s, fine … great even, it just ultimately struck me as rather shallow, thus falling short of my expectations. Even so, there is a lot of good in this — the chapter on RuPaul and her empire is both entertaining and enlightening, and the distinction made between technologies and techniques of gender performativity was fascinating — and not something I’d seen before.

Worth the read, though perhaps not worth a re-read.

[AinaBN · Rating 4 out of 5]

Very insightful!

If I had to nitpick, I would say the author could have delved a bit deeper into the history behind the colonial origins of gender and racial binaries (and their co-constitution). Still, this was an excellent introduction to the topic. Also, I particularly appreciated all the recommendations of decolonial drag artists that Kareem Khubchandani provides💗

Here are some of my favorite quotes:

"The category of performance we call drag has been occupied by particular forms of whiteness (binary gender, professionalism, disaffected irony) that regulate and deny access to the genre for many, particularly people of color and Indigenous people from across the globe, as well as poor and disabled artists. While drag is known for its transgressive nature, the flattening of the form forgets that gender dissidence necessarily looks different depending on social, cultural, and historical context." (30)

"Processes of colonization ... have often confirmed racial difference through gender, so the performance of gender can never be the sole axis through which we make sense of drag. A decolonial approach to drag focuses on the multiple ways gender is co-constituted by race, migration, class, and disability, and the potential for audiences and performers to explore these issues through the ribald and playful performance genre." (31)

"To decolonize drag requires mapping how gender works as a colonial tool, in order to undo, avoid, divert, and subvert these projects." (31)

"Other gender possibilities abound: muxe, kathoey, lhamana, fa’afafine, travestí, butch queen, aravani, two-spirit. The ideas that there are only two genders and that sex is prescriptively fixed to gender are distinctly Euro-western knowledge formations, consolidated as recently as the eighteenth century, that reproduce a binary sex/gender system." (36)

"This means that gender manifests between what we do and how it is interpreted." (38)

"Drag, in its potential disruption of state-sanctioned gender norms, can affirm our wonderfully strange bodies, invent new possibilities, and critique cultural and institutional regulations of the body." (42)

"European colonial projects have identified the Other’s failure to inhabit the sex/gender binary “properly” as a rationale for “civilizing” unruly others" (43)

"If the gender binary is made so sacred through the colonial violences of science, representation, and policing, undoing the binary can be a tactic of decolonization." (46)

"More than simply conjuring gender, drag artists are relying on, navigating, and activating histories of colonialism as they present their bodies." (72)

"Drag can be an opening of access to the mess of gender, its possibilities and problems. It allows more people to try on different genders, to refuse them altogether, or make new ones. It is a way of doing gender on your own terms rather than letting gender just happen to you." (140)

[Aaron Thomas · Rating 5 out of 5]

Mama, this is just so good. It's fun and quirky and very, very smart. I love the way it asks readers to reimagine what drag is, what drag can do, and how drag might change us—even those of us who don't do drag.

Actually scratch that. We're all born naked and the rest is drag. Of course we all already do drag. We just don't think about what we do as drag.

Khubchandani's book is a delight from start to finish, and it challenges all of us to consume drag more critically and celebrate all drag with a pile of dollar bills and more full-throated cheers.

[Leah · Rating 5 out of 5]

Great introduction to drag beyond RuPaul’s Drag Race and the ways that drag can signify outside of traditional “female impersonation” and intersect with the realities of race, class, and the reach of empire and colonialism. As someone who has been involved with and performed in punk drag spaces for many years, nothing particularly new here for me, but I HIGHLY recommend this book if you want to know more about drag and its politics outside of the mainstream.

[Michael · Rating 4 out of 5]

Khubchandani's writing style is always engaging in fun. The way that queer vernacular is so easily mixed with their academic expertise impresses me every time. My only critique is that the book felt a bit rushed at times and I wish there was more expansion on the ideas of the book for me to sink my teeth into.

[Tuni · Rating 4 out of 5]

This was a solid read. I think it was a great introductory read into ideas and critical thinking that, while they may see obvious, are not often thought about in whiter audiences. Because they've got that ~privilege~ to not think deeper. It's a nice hybrid read between something campy and something more academic. Kareem does a great job of mixing queer phrases and academic "mumbo jumbo." lol

[Megan Kellerman · Rating 3 out of 5]

Definitely provides very important information about how to rethink drag in current queer spaces. A must read for anyone passionate about equality both within and outside of queerness. However, this was a book for class and didn’t blow my mind or anything.

[Alise · Rating 5 out of 5]

This was an excellent read that expands the understanding of drag and gender performance. It is one of the most accessible texts on gender and gender performance that I’ve come across while still being very informative and introducing many texts and visual performances to explore.

[Simon Holland · Rating 5 out of 5]

thoroughly enjoyed both academically and personal, handled nuanced critique and analysis grounded in real understandings of real artists, unconcerned with trying to reconcile the irreconcilable, instead giving the reader the analytic tools they need to approach “drag.”

[Sam · Rating 5 out of 5]

As a drag artist myself, I HIGHLY recommend. Kareem Khubchandani goes between self and drag persona LaWhore Vagistan to give an in depth look at drag from different views and across different cultures. The critiques on RuPaul’s Empire are something every fan and artist should look into; there is more than just the Western binary within drag that’s monetized due to popularity. Easy read to get through that I could not recommend enough; as an indigenous performer - kinanâskomitin

[Alok Vaid-Menon · Rating 5 out of 5]

Who knew a critique of the political economy of drag could be so fun? Every chapter packs a pun(ch)! This multi-layered analysis is timely, worldmaking, and most importantly – glamorous.

[Jay :3 · Rating 5 out of 5]

wowowow this was eye-opening, inspirational, and precisely critical. a necessary lens for drag a wide-reaching art form. thank you, Aunty! <3

[frances walker · Rating 5 out of 5]

if you have ever thought about drag for more than 10 minutes consecutively, i recommend that you read this book

[Aimee · Rating 3 out of 5]

solid solid read, made me realize i love non-fiction, i love learning new things! also made me see drag in a different light 💋
vvvv mindful, really enjoyed xxx

[Ricca Ramey · Rating 5 out of 5]

Such a poignant critique of western drag. Khubchandani also catalogues so many queer artists and their work, which I'm grateful to now know about!

[Sangeetha · Rating 4 out of 5]

Who do you picture when you picture a drag queen? RuPaul? A Dolly Parton look alike? Due to the commercial success of Drag Race and the financial need to appeal to the lowest common denominator with drag brunches, drag has been reduced to just technology (glam costumes, makeup, cinched waist) and technique (hyper femme body language, pop song lip sync). Author Kareem aka Aunty LaWhore Vagistan asks you to set aside what you think of as "real drag" and shows you what drag can really be (political, trans-inclusive). I was most moved by and intrigued by the examples of artists who use drag as a form of political protest, like Arouse Falastin, an Israeli citizen of Palestinian descent who calls for the liberation of her people. I hope I can find YouTube archival footage of some of the amazing sets referenced.