Transforming identities : a historical genealogy of drag culture in Puerto Rico

Abstract

On August 15th, 2023, a new religious conservative party in Puerto Rico, Proyecto Dignidad proposed in P. de La C. 1821 to add an article to the penal code of Puerto Rico. The following states: “The State has a compelling interest in protecting the right of our children to grow up in a healthy and appropriate world where the highest human values prevail without exposing them to obscene content and exposures in public and private events.” (p.1) When talking about people performing drag in public or private spaces, Lisie Burgos Muñiz, a Proyecto Dignidad spokesperson, proposed legislation to outlaw "obscene exposure in front of minors" of creative forms such as drag shows. This reactionary move by a lawmaker for a new political party on the right in Puerto Rico copies similar laws proposed in the US that demonize drag culture. Like the case of a bill submitted in Tennessee Senate Bill 3 restricting drag performances in public spaces (AN ACT to amend Tennessee Code Annotated, Title 7, Chapter 51, Part 14, relative to adult-oriented performances). Such truly obscene hate-mongering aims to oppress all forms of non-heteronormative ways of being and obscure a prevalent rich tradition. It begs the question: What is drag? Drag is the art of clothing and performing as another gender (different from the one assigned at birth) exaggeratedly for entertainment purposes such as comedy, singing, dancing, lip-syncing, or all the above. Drag is a form of self-expression that allows individuals to explore and challenge societal norms and expectations surrounding gender. It often involves elaborate costumes, extravagant makeup, and larger-than-life personas to create captivating performances. Drag performers may also use their platform to advocate for LGBTQ+ rights and raise awareness about social issues. It has existed for centuries; for example, in the theater of ancient Greece, the men played the part of women in their plays, as with the kabuki tradition in Japan. Yet other examples from the early 1880s until the early 1930s in the US include vaudeville and burlesque. These historical examples highlight the long-standing tradition of gender-bending performances and artistic expression. Banning creative forms like drag shows under the pretext of protecting minors from "obscene exposure" fails to acknowledge gender-bending performances' rich cultural and historical significance. What Proyecto Dignidad also fails to acknowledge is that drag has in fact been televised and disseminated to the Puerto Rican masses for years with characters such as La Comay with her show SuperXclusivo, and Raymond Arrieta with his myriad characters, including those in which people have painted themselves in blackface. Where is the line crossed? When is drag ‘art’ and when is it ‘inappropriate for children’? How could this conservative state legislator pretend to ban drag and in so doing attempt to erase its history in Puerto Rico? Isn’t drag in fact an indelible part of Puerto Rican popular culture and mass media? What are the historical and cultural roots of drag performance, and how has it evolved over time?