Drag and Gender Expression in the Philippines: A Journey of Resilience, Artistry, and Activism

The history of drag and gender expression in the Philippines is deep and richly intertwined with resilience, creativity, and activism. Filipino drag has evolved with every wave of cultural and societal transformation. Icons like Walterina Markova then see drag evolve into a profound expression of identity and resistance against social oppression. Filipino drag thrives both under the underground and mainstream, claiming spaces in this gig economy that brings opportunity but also challenge. Drag in a cultural renaissance: Such activism is a strong point, as drag performers apply their art to the transgressing of norms regarding more traditional gender, marginalized voice representation, and community enrichment.

History of Drag and Gender Expression in the Philippines

From history, the culture of drag in the Philippines reveals vibrant and resilient cultures rooted in pre-colonial traditions that evolved through every wave of colonial influence and social upheaval. Pre-colonial Babaylans are spiritual leaders who embraced femininity and gender-fluidity. In fact, they are the manifestations of unique gender expressions that blend with spirituality and resistance against patriarchal structures imposed by colonial powers. However, others argue that the Babaylans were not the first who practiced drag since modern drag emphasizes performance, while the Babaylan practices have been held sacred and deeply connected with the spiritual and cultural identity of indigenous communities.

Gender expression became theatrical during the Spanish colonial period. Like in the West, women were not usually included in the art of theater. Therefore, male actors wore female clothing and make-up to, similar to modern drag, to portray female characters in plays such as komedya and sarsuela, translating gender expression into creative performances and reshaping it into a theatrical art form.*

Icons such as Crispulo Luna and Walter Dempster Jr. (Walterina Markova) emerged, especially during the American and Japanese colonial periods, in trying to express the intricacies of gender dynamics during those eras. Luna modeled in women's clothes* while Markova and his peers were part of a cross-dressing performers.* Unfortunately, Markova’s group underwent violence and great trauma under the Japanese occupation as they were tragically coaxed into sexual slavery by Japanese soldiers, being dubbed as “comfort gays” as they underwent similar horrific fate as comfort women.  

Post-World War II, America had a major influence in Philippine society, from economics and  politics to cultural and societal norms. Gay beauty pageants began to mushroom everywhere, important venues where LGBTQIA+ people can exercise their femininity and creativity in the then very conservative country. More than individual expression, these pageants created an intense sense of community through which LGBTQIA+ individuals form "chosen families" and find solace in each other.*

In Ferdinand Marcos Sr.'s era of Martial Law, freedom of expression for all Filipino people was diminished severely, forcing the LGBTQIA+ community, and more specifically drag performers, underground. But queer nightlife was unstoppable, and it soon became a space for resistance. Satire, comedy, and nuanced critique marked drag performances as subtle acts against authoritarian rule and representations of resilience and defiance during times of repression.*

Meanwhile, the Paper Dolls was a manifestation of the 1970s new wave of the Filipino female impersonators mixing comedy and traditional drag plus musical theater. Though the group never really wore their label as "drag," impersonation did its trick since they made their mark to impersonate some of these iconic women. They played in national and international stadia; from Cabaret Royale down to Araneta Coliseum and even reached Singapore.* 

From sacred pre-colonial practices to underground performances under Martial Law, Philippine drag and Filipinos’ gender expression has evolved because of resilience, cultural transformation, and a profound spirit of community.

Drag in Philippine Media and Entertainment Industry

From the early film and television days, it had been a dynamic change into a full-fledged renaissance in recent years for drag representation in Filipino media. The comedian Dolphy Quizon first opened doors in the late 20th century by using films such as Ang Nanay Kong Tatay (1978) and Markova: Comfort Gay (2000) to portray extremely feminine homosexual men. Although it was performed by a straight man, these roles represented an important step in bringing drag and LGBTQ+ themes onto the screen, as such presentations were rare during that period. There was also the Doble Kara portion in Eat Bulaga!, a noontime television show, where participants dressed in half-male, half-female costumes. Sometimes laughable, these initial forms did provide a platform for drag's more authentic future expression.*

In Manila, the Bed in Malate, long since closed down, had been a regular playground for drag shows and created lively underground culture throughout the 2000s.* During the 2010s, clubs O Bar and Nectar would make way for dedicated followers of drag performances, propelling local queens to reach their peak. The emergence of RuPaul's Drag Race, in 2009 marked a cultural turning point about a "drag renaissance" sweeping the world, even the nation of Philippines. It actually inspired a lot of drag queens in the country, boosted the general public’s interest in  drag culture, and generally helped put local talent ahead and more public appreciation than ever.

Drag is featured more predominantly in mainstream Philippine media now than ever. With its increasing frequency, television and film feature drag characters and themes, celebrating the Filipino drag artistry. Shows like RuPaul's Drag Race Philippines and Drag Den bring Filipino queens before a national and even international audience, providing platforms that underscore their unique talent and creativity. Films such as Die Beautiful (2016) and Born Beautiful (2019) engage the theme of trans identities and drag culture, and Here Comes the Bride (2010) and Mamu: And a Mother Too (2018), use drag as a social commentary on issues concerning gender and family, which have firmly rooted it in the accounts of Filipino cinema.

It started with the path-breaking Dolphy, through the most recent mainstream media exposure of drag in the Philippines, which has really evolved so much and covered varied stories and personalities. From then being a very rare occasional appearance in film and television, it now turns into a very rich and vibrant celebration of drag culture that has captured the heart of audiences nationwide.

Economics in the Philippine Drag Scene

The drag scene in the Philippines has gained much momentum in the past years with an ever-increasing population of drag artists expressing themselves through their artistry and identity in a challenging yet vibrant gig economy. Drag queens in the country work within a diversified landscape with opportunities and earnings influenced by venue, event type, and the audience's engagement.

The gig economy for Filipino drag queens is marked by varying pay rates depending largely on the type of venue and the nature of the event. High-profile clubs like O Bar and Nectar, known for regular drag shows, usually offer more stable compensation. The average pay scale for a drag performer is an estimate of the fluctuating value depending on the performer, the popularity of the entertainer, and the actual venue; the better-organized venues usually charge high rates. In smaller or private bars or corporate gathering events, they usually offer small pay, although private clients can sometimes pay highly well based on the nature of the event. Again, rates also change with the kind of role played by the performer; whether major act, supporting, or performing in a group. Cali D’ Warrior, a drag activist in the Philippines shares, “Ang pinakababa kung natanggap ay Php.500 at ang pinakataas naman ay nasa Php.3,500. Minsan, pa nga wala eh, for a cause ang performance ko sa ngalan ng advocacy.” (The lowest I’ve received is Php.500 (8.5 USD) and the highest is Php.3,500 (~60 USD). Sometimes, I perform even without a talent fee since my performance is for a cause; in the name of advocacy.)

A lot of a drag queen's earnings come from tips, which are very inconsistent and depend on the crowd and venue. In Cali’s experience, “Tipping is not required. So, basically you can give any amount. Dito sa Pinas, (Here in the Philippines) tipping is a more common practice due to the influence of both international and cultural diversity.” Audiences that are very lively and have the capacity to support queens might tip very generously. However, Cali has shared that once, she was invited to perform to raise awareness for the campaign “Defend Press Freedom” and she did not get any tips at all due to her audience being only students. In these cases, she understands that her performance is purely for her support in the advocacy. To encourage tipping, drag performers often interact very closely with the audience, turning the experience into something more interactive and rewarding for both parties.

Another skill most drag queens will have to learn to master early in their careers is negotiating fees. These generally depend on the nature of the event, how much a venue has budgeted and the level of one's own brand. The experienced or more popular or, for example, having millions of followers on social media will hold more sway when it comes to the amount they can negotiate on their own behalf. Negotiations can, however, be very challenging as venues resist higher fees or attempt to limit pay for artists that are not well established. Some queens share that when there is a clear pricing and open communication, they can ensure fair compensation, but for others, they have to plead for a just value for their artistry and time. 

Generally, even though drag culture is gaining popularity, artists still experience insecurity and instability in jobs and income. Bookings can be sporadic, especially during off-peak seasons or when the venue has financial constraints. Many drag artists need to take up additional work or freelance assignments to ensure a steady income as gigs alone cannot support one's living. Some even have a full daytime job and just practice their art as a sideline. These erratic work patterns indicate an even more critical issue regarding the worth that drag as a performing art is accorded in the Philippine entertainment world. Even though audiences love the shows, the monetary value that is given to drag queens is often minimal, showing that cultural appreciation is not equivalent to financial support.

Social media has become a means to increase the income potential of Filipino drag queens. The use of Instagram, TikTok, and YouTube helps performers gain a bigger audience and thus, earn through sponsorships, brand collaborations, and paid online shows. A strong online presence can help drag performers increase visibility, which often translates into higher-paying gigs and a more loyal fan base. For this reason, social media has become an essential part of navigating the gig economy as it allows queens to market themselves and increase their potential earnings.

Supportive venues and camaraderie abound, but with few exceptions, there aren't any formal support networks to ensure that drag queens will reach a point of fiscal security. Informal webs and community support groups do offer a sort of fallback in the sense that most queens exchange resources, recommendations, and gig leads, but this doesn't constitute an official safety net-queens have no option of unemployment insurance or workman's compensation as self-employed artists.

For aspiring drag queens, Cali D’ Warrior shares a few tips: 

1. Develop a Strong Brand: which should be distinctive and memorable. Focus on your character and performance style. Branding is a key to standing out and getting noticed, both online and at live gigs.

2. Network and Collaborate: build connections within the drag and LGBTQ+ community. Attend shows, support fellow queens, and engage with local performers, promoters, and venues. Collaborating with others can lead to more opportunities.

3. Utilize Social Media like FB, Instagram, TikTok, and YouTube: These are powerful tools to promote your drag and reach a wider audience. Consistently post high-quality content, such as makeup tutorials, performances, and behind-the-scenes footage.

4. Diversify Income Streams: The gig economy can be unpredictable, so explore multiple sources of income. This could include paid performances, hosting events, selling merchandise, digital content creation, or even offering makeup or drag consulting services.

5. Invest in your skills: Whether it’s makeup, lip-syncing, dancing, or comedy, constantly improving your talents will set you apart and make you more marketable.

6. Be professional in managing your bookings, contracts, and finances. Learn to negotiate fees that reflect your worth and experience, and always get agreements in writing.

7. The gig economy can be inconsistent, so don’t get discouraged by slow periods or rejections. Keep pushing your craft, and be open to taking on smaller gigs to build momentum.

8. Reach out to more experienced queens for advice. Mentorship can help you navigate the intricacies of the drag scene, from performance tips to business strategy.

The Philippine drag scene is the strength and passion of its performers as they navigate a very complex gig economy with much determination. Though issues regarding stable income and fair compensation remain, the community is still growing and innovating to create spaces for drag queens not only to express their artistry but also build sustainable careers. This would ensure the continuation and growth of the art, as several artists make it into recognition and appreciate it even better.

Drag is Political

Beyond the glitter and glam, drag has emerged as a critical tool for activism and social change in the Philippines, providing a voice for the LGBTQIA+ community as well as for more universal social and political concerns. Drag, in this context, is political, because it challenges old norms on gender, it suffers from discrimination, and it combats systemic injustice. Though these Filipino queens are entertainers, they also stand for something, like advocating, through art, the criticism of power structures, equality, and places of resistance to identity and cultural expression.

One way that drag is political in the Philippines is through satire. Drag queens can be seen in many aspects as political commentators as they use costumes, make-ups, and comedy as tools to vent their sentiments towards politicians and government policies or the overall status quo in society. For instance, a drag queen may imitate or caricature influential political personalities to exaggerate their traits or features but to emphasize how corrupt they are or how hypocritical they portray; similar to what Marina Summers did for Snatch Game in RuPaul’s Drag Race Philippines Season 1 where she portrayed former president Gloria Macapagal-Arroyo wearing her infamous neck brace.

Drag in the Philippines also confronts deeply ingrained gender norms and expectations. Drag performers, both drag queens and drag kings, display caricatured or fluid expressions of masculinity and femininity, challenging the societal notion of fixed gender and sexuality. Such acts of resistance against the norms can possibly make individuals reflect on their very tight views on identity, fostering a more open perspective for what it takes to really express oneself freely. In doing so, drag performers directly talk about the discriminations faced by the LGBTQIA+ community, bringing out the struggles and rights of queer Filipinos, encouraging empathy and acceptance.

Drag in the Philippines has often connected LGBTQIA+ struggles to broader issues that affect marginalized communities. Drag performers amongst the most marginalized Filipino subgroups bring parallels between oppressive forces around LGBTQIA + and struggles of other more vulnerable collectives, especially oppressed peoples and women. Linking each of these types of grievances, drag becomes this bridge that shows solidarity toward different parts of society through their performances. This intersectional approach helps the audience recognize that issues like discrimination, poverty, and inequality intersect with each other, making the fight for LGBTQIA+ rights a part of a larger struggle for social justice.

Filipino queens also offer safe spaces for expression and community building. Drag shows often take place in queer-friendly venues where people are free to express their identity and feel belonging. These spaces turn into mobilizing areas for the community, speaking about LGBTQIA+ rights and mental health and other social issues. In this way, drag becomes a platform of resistance, but it is also a tool of empowerment for people in the LGBTQIA+ community, offering some level of support system.

Besides clubs and live shows, the Filipino drag queens make their activism reach an even wider audience through using the social media arena. They post about social and political discussions to spark conversations on discrimination, government policies, and the relevance of representation from the LGBTQIA+ community. Providing education and mobilizing greater audiences, this digital activism will be able to bring change in the long run because of the support for the rights of LGBTQIA+ and the disruption of norms that affect society.

As Cali D’ Warrior says, drag is “more than entertainment. It’s an art form that allows drag artists to express their personal and sociopolitical views.” For her “pagkakataon ito upang maiexpress, maipakita, at maisawalat ang kongkretong kalagayan ng lipunan through our artistry.” (It is an opportunity to express, show, and reveal the concrete conditions of society through our artistry.)

Filipino drag queens are oppressed, give a voice to the marginalized, and teach the audience empathy through harnessed power with the force of humor, satire, and creative expression. The art reminds society that actual equality and justice need diversity and must resist all oppressions. Drag in the Philippines is, thus, a declaration of liberty, tenacity, and unbowed activism.

Challenges of doing Drag in a Conservative Country

In the Philippines, it is evident that drag has been part of the country’s culture for many years and has been growing in popularity and support in the more recent years. Programs and films that showcase drag queens as well as the vibrant nightlife that highlight drag performances have thrown open the gates for drag to bask under the limelight and have celebrated the artistry and resilience of Filipino queens. 

However, doing drag in a conservative country is not without its challenges especially when your art challenges and pushes back against cultural, economic, and political norms. Drag artists face backlash from both the public and state, often resulting in harsh public condemnation (even leading to threats to their safety) and underserved legal action. For instance, Pura Luka Vega faced  severe criticism against them after their performance as Jesus Christ. The act was met with outrage from religious groups, conservative individuals, and even local government units, leading to multiple arrests because they have offended religious feelings. Supporters of Pura Luka Vega have pointed out that there have been many instances in the Philippines when individuals have worn outfits and even made jokes related to religious idols but only when a drag queen does it is it publicly crucified.

This incident, among many others, highlights a much bigger issue: the lack of comprehensive legal protections for discrimination based on Sexual Orientation, Gender Identity, and Expression (SOGIE). For years, the Philippines has been advocating for the passage of the SOGIE Equality Bill, which will protect individuals from workplace discrimination, harassment, and violence based on SOGIE. In the absence of such legislation, drag performers and LGBTQIA+ individuals are still open to both institutional discrimination and societal prejudices. As appreciation for drag artistry continues to grow, its performers still navigate an uncertain landscape: between cultural celebration and institutional repression.

Collective action especially within the LGBTQIA+ community and their allies is a very important factor in ensuring that the gains are lasting. Working towards comprehensive rights and protections together will help create a society that not only celebrates its diversity in culture and in expression but also upholds genuine equality and justice for everyone.

Sources:

• The Philippine Komedya: History, Indigenization, Revitalization, Nicanor G. Tiongson, University of the Philippines, Philippine Humanities Review, November 2010
• “Por Dios, babae ako!” Get to know Crispulo Luna, the Filipino crossdresser cover girl, Mike Demet Villanueva, Village People, August 2022
• Markova: Wartime Comfort Gay in the Philippines, Interviewed by Ronald D. Klein, The Australian National University, August 2006
• From Asog to Bakla: Genealogical Analysis of the Philippine History to Diagnose the Roots of Homophobia, Tracy Mae Ildefonso, Dublin City University, n.d.
• BAKLAsin ang Kinagawian:  The ever-evolving artistry of Filipino drag performance and queer art, Zach del Mundo, UPLB Perspective, July 2023
• Once upon a time, the Paper Dolls were Manila’s drag sensations, Rhia Grana, ABS CBN News, Sept 2022
• Beyond the Glitz and Glamour: How Philippine Drag Has Evolved throughout the Years, Commoner, Medium, June 2021
• Party Zone, Mikee Dela Cruz, OutrageMag, June 2011