Diving into the World of Drag: A Conversation with Patruni Sastry

Q. Could you please explain to us your style of drag and the inspiration behind it?

A. I embarked on my drag journey in 2019, specializing in tranimal drag, a style that is widely known for its anti-beauty approach. My drag style draws inspiration from two main sources. First, I am deeply influenced by avant-garde art movements like expressionism, butoh, and other art forms that challenge conventional notions of beauty and art. Tranimal drag, a drag style created by Austin Young to deconstruct beauty, resonated with me, and I incorporate elements of Indian classical dance, such as aharya (costume and adornment) and abhinaya (expressions), into my performances. As I create my looks and express gender, I find inspiration in artists like Daniel Lismore, Charity Kase, and renowned Indian female impersonators such as Bala Gandharva and Chapal Rani. My drag art is highly interdisciplinary and infused with queer politics, often combining dance, performance art, and folk music. I draw inspiration from a diverse range of artists who have explored cross-format art forms, including Anita Ratnam, Maya Krishna Rao, Alok Vaid-Menon, Navtej Johar, and Frade Prey. My drag practice defies boundaries and constantly seeks to discover and create new performances.

Q. You are one of the pioneers of drag in India. How has the reception of drag changed from when you started a few years ago to now?

A. I must clarify that I am not the first drag queen in India. Drag has been a part of Indian performing arts since its origins, though the recent neo-representation inspired by figures like RuPaul and changes in pop culture have helped distinguish it. However, the concept of drag has always intermingled with gender performances in India's cultural and folk art forms, such as Theeyam, Kathakali, and Kuchipudi. Every state in India has its regional art forms where men dress up as women and perform gender roles. When I started doing drag, my main goal was to bring the drag scene to my city, Hyderabad. At that time, Hyderabad lacked a queer nightlife scene, unlike other cities where drag queens were already performing. I organized my first public drag performance, expecting around 20 people to attend. However, on the day of the event, more than 500 people showed up, filling the entire venue. I performed Lady Gaga's "Born This Way," and from that moment, I never looked back. Initially, it was challenging to explain drag to people, as it was sometimes perceived as adult entertainment, which is not the case. However, I have witnessed significant growth and acceptance of drag in India. When I perform now, I see a wide range of audiences, including people from younger and older generations, who sit and enjoy the performances. As we continue to grow, I envision drag becoming mainstream across the country.

Q. Are there any specific challenges or unique considerations when performing dance in drag compared to traditional dance performances?

A. Drag as an art form is not as structured as traditional dance. When I was primarily a dancer, I had easy access to performance opportunities and shows, as there wasn't much stigma associated with dance. Classical dance performances, in particular, were readily accepted. However, with drag, there is a need to sensitize organizers and overcome the stigma associated with it being perceived as an art form only for the queer community. As I transitioned from being a dancer to a drag artist, finding spaces to perform became more challenging, as drag was often seen as catering only to a queer audience. Furthermore, the pedagogy of drag is inherently unstructured. Drag artists must make an extra effort to break down the art form for audiences, considering that the audience composition can vary greatly. Drag performances take place in diverse venues, including theaters, dance spaces, clubs, and nightlife events, which require the drag artist to adapt their style and engage with the specific audience. In dance, we often discuss the concepts of Loka Dharmi and Natya Dharmi, where dancers choose the appropriate presentation style for their audience. Similarly, drag artists must select and adapt their performances to suit their audience's expectations, which can sometimes be a challenging task.

Q. What are some misconceptions or stereotypes about drag and dance that you would like to debunk?

A. There are several misconceptions and stereotypes about drag and dance that I would like to debunk. Firstly, the notion that all drag queens are gay is simply not true. Drag is inclusive of individuals with various sexual orientations and gender identities. Anyone can do drag, irrespective of their sexual orientation. There are many bi, trans, and even straight drag artists who actively participate in drag culture, highlighting that drag is not limited to the queer community. Another misconception is that all drag artists must be proficient dancers. Drag is highly interdisciplinary, and not all drag artists incorporate dance into their performances. Some may sing, cook, perform comedy, puppetry, magic, boxing, stunts, skating, or engage in a wide range of art forms alongside drag. The possibilities are truly endless. Occasionally, I receive comments from my dancer friends regarding drag queens performing Indian classical dance without proper training or lacking in foundational knowledge. However, it is important to understand that drag does not aim for perfection in the technical aspects of dance. Many Indian drag artists learn and incorporate moves inspired by Indian classical dance into their performances. While their technical skills may not match those of professional dancers, the intention is not to present themselves as the best classical dancers but rather as drag queens entertaining the audience. Access to long-term classical dance training may be limited for drag artists who come from different socio-economic backgrounds or face unsupportive family situations. When they embrace drag, they still find ways to blend elements of Indian dance, considering its cultural significance, to connect with the Indian audience.

Q. Can you share any insights on how you balance your professional corporate life with your drag artistic persona? And how has your involvement in drag influenced your perspective on diversity and inclusion within the corporate world?

A. Finding a balance between my professional corporate life and my drag artistic persona has been a challenging journey. There were times when I considered quitting one of them. However, I came across a TEDx talk by Ananda Akka, who emphasized the importance of balance. Her words resonated with me, and I learned that negotiation and giving back to the organizations that support me are key to maintaining a balance. I establish clear boundaries for both my performances and my work, ensuring that they do not overlap. I perform only when I am off work, and I have open conversations with my organization, which enables me to navigate between both professions. Furthermore, drag has allowed me to address diversity and inclusion within the corporate world. I conduct SOGIE (Sexual Orientation, Gender Identity, and Expression) trainings, gender orientation workshops, and DE&I (Diversity, Equity, and Inclusion) talks within corporate settings while dressed in drag. By deliberately presenting my gender expression in these spaces, I become a living representation and catalyst for discussions about the queer community. This approach helps challenge unconscious biases and initiates dialogues. I firmly believe that art and businesses should go hand in hand, as they contribute to enhancing human intelligence and fostering a better understanding of diverse perspectives.

Q. What or where, according to you, lies the future of drag in India?

A. Drag is experiencing exponential growth in India. In 2019, there were only a handful of drag artists, but in recent years, over 1000 drag artists have emerged, each bringing their unique style and empowering the LGBTQ+ community. The future of drag lies in recognizing and celebrating these artists who are carving their own niche in cities like Vishakapatnam, Chennai, Bangalore, Indore, Chandigarh, Kanpur, and many other tier one and tier two cities. It is high time we acknowledge their contributions and provide them with the limelight they deserve. The drag scene in India is evolving rapidly, and it holds immense potential to create a platform for diverse voices and foster greater acceptance and understanding of gender performances and queer culture within society.

Click here to see Patruni Sastry's Instagram page -

https://www.instagram.com/sas3dancingfeet/?hl=en

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