Everyone is welcome in drag. Everyone is important and valuable.
Sasha VelourRead
What I love so much about drag is that it has politics at its very core; drag performers aren't afraid to talk about politics in our community and the changes we need to see systemically in society.
Interpretation
Drag art incorporates political commentary to provoke societal change.
Sasha Velour highlights the essential relationship between drag performance and political activism, suggesting that drag artists not only entertain but also serve as voices for their communities, addressing crucial societal issues and advocating for necessary changes. This intersection of art and politics allows for important conversations about identity, representation, and social justice.
In practice
During a rally, to inspire participants about the role of art in social movements.
Everyone is welcome in drag. Everyone is important and valuable.
I hope we see more avenues for representation. More TV shows and films starring queer people, especially QPOC and nonbinary folks, more mainstream press coverage of our artwork and fashion, and more representation of our interests within politics.
Drag is literally so ancient that it predates modern understanding of gender, of transness, of queerness. Drag predates modern ideas of gender, of theater at all. Drag predates the word 'drag' itself.
Drag, at its core, is about honoring yourself and your own unique way of being a gendered, queer person. Your own unique way of using fashion to express yourself.
There are no limits to what kind of bodies, which types of people, which genders, or what races can do amazing drag, and I think the audience is clamoring fighting with each other more and more to see drag represented as fully as it possibly can be.
Drag has always inspired people to come together to be joyous and fight for what matters. If we can do it through beauty and positivity and lip-syncing our favorite pop songs, then let's do it.
Color is my day-long obsession, joy and torment. To such an extent indeed that one day, finding myself at the deathbed of a woman who had been and still was very dear to me, I caught myself in the act of focusing on her temples and automatically analyzing the succession of appropriately graded colors which death was imposing on her motionless face.
The ultimate point of a piece for me is that it drives the next one. Does it open new doors? That's the success of a piece.
People are meant to be certain places, and I think I'm meant to be on a sound stage doing situation comedy.
Be a good craftsman; it won't stop you from being a genius.
But poets were not considered dangerous and they were advised to exercise self-censorship. At most, poets were requested not to write at all. I took advantage of this negative liberty.
And so when studying faces, we do indeed measure them, but as painters, not as surveyors.
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