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Drag is a grand dame in a glittering gown, commanding the stage with a power ballad or disco classic. Drag is also anunderground performertwirling onstage to Madonna’s “Papa Don’t Preach.”

It’s the glitzy cast of “RuPaul’s Drag Race: All Stars” and small-town performers with dedicated local followings. It’s a queen namedMeatballdressed as aghoulish exaggeration of George Santos, singing the “Greatest Showman” anthem “This is Me,” and a king namedMo B. Dickin a firetruck-red pompadour and drawn-on goatee. It’s cisgender and trans men, trans and cis women and nonbinary people. Its performers are gay and straight. It’s masculine and feminine; it’s neither or both.

“Drag is the theatrical exaggeration of gender,” said Joe E. Jeffreys, a drag historian and adjunct instructor at New York University, who noted that the artform constantly subverts “what people think they know about gender.”

Best Stocks for Value Investors in India Market Expert Research Picks ✌️【Stock Insights】✌️ Free expert predictions on stock trends and real-time data to help you make informed decisions and grow your wealth steadily. At its core, drag is an art form that for over a century has affirmed and uplifted LGBTQ people who perform and enjoy it. But it has rankled conservative lawmakers since at least the 19th century, when thefirst recorded attemptsto restrict drag were made.

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Drag has become increasingly visible in recent years through mainstream shows like “RuPaul’s Drag Race” and popular public events such as drag brunches, drag bingo and drag queen story hours, in which drag performers read children’s books to young audiences, often at libraries.

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LGBTQ historians and performers say drag will endure in spite of any fearmongering and hate. Survival, they say, is baked into the art form’s long, defiant legacy.

Drag is likely as old as gender norms — it’s a “part of the human condition,” said Larry La Fountain-Stokes, a professor and chair of American culture at the University of Michigan in Ann Arbor who also performs in drag under the name Lola von Miramar.

“As long as people have been using clothes or marking gender in different ways, you’ve had people transgressing and challenging those conventions,” he said in a phone interview.

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One of the first known people to call themselves a “queen of drag” was William Dorsey Swann. A formerly enslaved man, Swann in 1882 began hosting guests, many of them former slaves, for drag dances at his Washington, DC home.

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“The pleasure was the resistance,” Testa said in a phone interview. “The celebration of queer joy when it’s been denied in all these other spaces is activism.”

Drag performers were often stars of the vaudeville scene of the early 20th century, Jeffreys said. “Female impersonator”Julian Eltingewas a particularly popular performer who published a magazine and launched his own makeup line, Jeffreys said. Those who perform exaggerated forms of masculinity, now often referred to asdrag kings,also commanded stages across the US, proving masculinity could be prodded as much as femininity.

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Even after the counterculture movement took over the ’60s and sizable LGBTQ communities were forming in major cities, dressing in drag in public could still be dangerous. Police regularly raided gay bars in the US — until the late ‘60s, Jeffreys said, it was illegal for bars in New York to serve a drink to a “known homosexual.”

Despite the pervasive danger of living authentically, drag performers in this era also experimented with the traditional drag format. Queens founded their own drag houses — and chosen families in the process; for many Black and Latino queer and trans people this was a reaction to the racism they faced within the gay pageant scene. This was also the era when lip syncing became the norm, Jeffreys said, and drag became less binary – “genderf**k” drag was used to describe some performers who weren’t easily defined as masculine or feminine.

Offstage, many queens led collective efforts to aid queer and trans people. When the AIDS crisis worsened in the ’80s, groups like theSisters of Perpetual Indulgencein San Francisco raised money to house AIDS patients and pay for their health care. Others gladly hosted events or lent their talents to fundraising efforts.

“We had to get out on the street and save our own lives,” said Joan Jett Blakk, a drag queen who ran forUS presidentin 1992.

Blakk, then an advocate with AIDS grassroots organization Act Up and political group Queer Nation, never ran to win — she wanted to do “something different with drag and tie activism in,” she said in a phone conversation.

“It’s great to think that you made a little dent in history,” Blakk said. “But I’m surprised we have to get back out in the streets again and keep going.”

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Devin Antheus, who coauthored the photo book“Legends of Drag”with Harry James Hanson, said many of the queens he and Hanson photographed and interviewed began performing in the ’60s and ‘70s, before terms like “trans” came into popular use.

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“People of our generation and after grew up in a realm where identity categories are very important and delineated,” Antheus said over the phone. “And for a lot of the girls, both queens who currently now identify as trans and those who don’t, back in the day, there weren’t such precise divisions when people were in internal spaces … they all rolled together.”

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“Drag loses its sense of danger and its sense of irony once it’s not men doing it, because at its core it’s a social statement and a big f-you to male-dominated culture,” RuPaul said  in an interview with The Guardian,  positioning the “trans movement” and the “drag movement” as two dichotomous groups.

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In recent years, several statesintroduced legislationthat would impact where and when drag could be performed. Most bills that explicitly target drag were killed in state legislatures, and federal judges have sinceblockedtwo drag-specific laws that were passed, in Tennessee and Montana, according to theMovement Advancement Project, an independent nonprofit that monitors anti-drag legislation among other issues.

Under Tennessee’s law, people who performed in drag in an area where children could see them could becharged with a misdemeanor or felony, and Montana’s law specificallybanneddrag performers from hosting storytimes at public libraries. States have continued to introduce legislation to restrict drag, thoughmost of these efforts fail.

But some states haveenacted lawsthat place broader restrictions on “adult performances,” an expansive term used todescribeacts that could be considered lewd or sexual, under which drag could fall.

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Drag performers and scholars said they believe drag is being scapegoated as a distraction from serious issues in the US, including gun violence, poverty and institutional racism, all of which disproportionately impact LGBTQ people, particularly Black trans women.

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“Queer people have always found creative ways to resist the violence of their experience and norms that have tried to restrict our ability to live freely in the world,” Testa said. “Drag is a process of that resistance. These communities formed as a response to harassment, exclusion and violence. I’m hopeful in the sense that we’ve done this before — we never stopped doing it.”

Drag has survived for as long as it has because it’s always been a vessel for expression for queer and trans people who’ve had to carve their own paths. It’s why Alaska Thunderf**k, the blonde bouffanted winner of the second season of “RuPaul’s Drag Race All Stars,” first got into drag – to make art that wasn’t bound by rules. That, she said in an email, and to have pure, unadulterated fun.

“The great thing about drag is that the second you think you’ve got it figured out, it changes and turns into something else,” Alaska wrote. “That’s why we’ll always survive.”

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