Research Project Proposal And Literature Review (2500 words)

“Why are faux lashes wet?: Assessing the Social and Psychological impacts of ‘RuPaul’s Drag Race’ on viewers and Queer artists”
 

Introduction:
 

Originating in the underground scene of Harlem, New York City in 1920s, Drag has evolved into a mainstream cultural phenomenon, propelled by the success of RuPaul’s Drag Race, which boasts an impressive 70 Emmy nominations. Throughout its journey, drag has wielded a substantial influence across various domains, including culture, fashion, music and the performing arts industry. 
RuPaul himself has emphasized the political nature of drag, stating in an interview with The Atlantic titled "RuPaul versus the White House" by Spencer Cornhaber, "I'm not doing drag to give you makeup tips. This has always been a political statement."

Queens who have graced the stage of RuPaul’s Drag Race have demonstrated remarkable creativity, resilience and activism. They not only have utilised their platform to showcase their talents but also have advocated for significant causes. Some have embarked on nationwide tours, captivating audiences with their outstanding performances and spread messages of love and acceptance. They have employed their drag personas to amplify marginalised voices, advocate for LGBTQIA+ rights and promote body positivity. Lot of them have used their platforms to raise awareness to social issues, participating in charity events, fundraisers etc. They have made a significant mark in the fashion and makeup industries. Theirs boldness, creativity and unwavering authenticity inspire audiences around the world.

Although “RuPaul’s Drag Race” has undoubtedly elevated drag culture into mainstream recognition and offered a platform to LGBTQ+ visibility, there are apprehensions regarding its potential adverse effects on the Queer Community.
 

Objectives: 
 

To analyse positive influences of RuPaul’s Drag Race on the visibility and acceptance of Drag Culture.

To examine negative consequences of the show including issues of racism, stereotyping and exploitation.

To propose recommendations for mitigating some of the adverse effects.

 

Research Questions:
 

How has Rupaul’s Drag Race contributed to the mainstream visibility and acceptance of drag culture?

What are the potential negative impacts of RuPaul’s Drag Race on drag performers, including issues of exploitation and stereotype reinforcement?

What strategies can be implemented to address the negative consequences of the show whilst amplifying its positive effects?

 

Methodology:
 

This research will employ a mixed-methods approach. A systematic search through academic databases, news articles, journals, library resources, books, e-books, documentaries, films, television series, interviews, websites and online platforms will be conducted to identify and access relevant information.

Literature Review :
 

Paper 1:
 

Commodification of the Queer body and reinforcement of already existing social hierarchies at the intersection of race, class, sexuality and gender in Rupaul’s drag race:

Throughout history drag has been linked to acts of resistance against gender binaries but this study explores how drag queens in order to appeal to mainstream audiences and heteronormativity; are expected to maintain ambiguity by reaffirming radicalised and idealised gender norms (Hodes et al. 2018). 
Drag used to be a form of activism where drag artists would intentionally apply makeup to unshaven faces and openly display their male genitalia this was done with the deliberate intention of revealing the artifice of gender. 

The disruptive potential of embodying stereotypes is undermined in drag race which also takes from the political significance. When applied with in the frame of neoliberal market logic these representations extend beyond the confines of reality television and frequently perpetuating the violence and discrimination experienced in the lives of the show’s contestants and audiences.

The second aim of this study was to highlight how host, judge and mentor RuPaul manipulates the traditional role of a drag mother Like shown in ‘Paris is Burning’ … But  ‘Mama Ru‘ repeatedly prioritises the promotion of his own products rather than facilitating the self-actualisation of the contestants. Even though RuPaul articulates a desire to make a difference but her methods are grounded in self-commodification.

The shows success and the effective branding of it’s contestants heavily rely on embodying racialised gender stereotypes. Drag race maintains its popularity through the support of its predominantly white cis-gendered gay males and young female fan base who actively consume and defend these stereotypes on various social media platforms.

In the show, costuming serves both as a tool to convey reality and a method to obscure it.

The marketing of drag race prominently features RuPaul’s iconic image characterised by his white mane, hourglass figure, pink jumpsuit evoking an all-American blonde bombshell persona reminiscing cultural icons like Jane Fonda, Mae West, Marilyn Monroe and Daisy Duke. This idealisation reflects a brutal, imperial, ruling -class, patriarchal whiteness that presents itself as the only meaningful way of life.

Conversely, contestants that look ‘fishy’ meaning who’s drag personas resemble too closely to the looks of a biological female have been criticised by the drag race judges as they are not perpetuating the hyper glamourised standard of professional drag.

The study also reiterates how the shows depiction of drag queens are not at all an accurate representation of the local drag scenes, local drag performers are not rich or flawless, nor are they interested in emulating women.

Transphobia has been another recurring theme in the show as openly transgendered Queens or Queens who altered their male bodies were not being casted till season 9 of the show. Even though transgendered Queens have built the foundation of drag.
When RuPaul was called out for his use of transphobic terminology, his response was that lingo is not taken that seriously in drag culture it about the intent behind it and his intention was not to be hateful at all.
RuPaul’s criticism of the ‘language police’ exemplifies the shows ability to conceal instances of racist and transphobic violence in everyday life.
 

Paper 2 :
 

Drag as a legitimate career choice and Celebrity Status:

Drag performance has risen in prominence within mainstream British culture, receiving considerable recognition and acclaim. This is an analysis of in-depth interviews with 25 drag British drag performers (McCormack et al. 2021). There is an increasing allure towards drag where performers can receive fame instead of social stigma. This reflects a seemingly more inclusive societal mindset, although the reality of things are more nuanced.

In the late 1800s female impersonation took on its most grotesque but acceptable 
form: as the Dame of the pantomime. In British theatre, The dame typically refers to a female character portrayed by a male actor, a clear understanding of this maintained between the audience and the actor; this false disguise inherently removes any sexual connotations and the humour stems from the perceived absurdity of men wearing women’s attire.
Even though there is a pull towards drag being a viable career opportunity, performers are facing resistance from other creative sectors, they spoke of heteronormativity in form of typecasting from other industries such we dance and musical theatre. They have faced rejections from educational and cultural industries.

Unlike drag queen performances which primarily focuses on entertainment and addresses heterosexual privilege and stereotypes surrounding gay men;
It’s worth noting how Drag King cultures which has not reached mainstream attention yet, has greater inclusion of queer and trans drag performers. They actively participate in political performances, emphasising anti-transphobic, anti-racist and anti-capitalistic viewpoints whilst also openly critiquing heteronormativity.

The present era has been characterised as the ‘Golden Age’ of drag. 
The mainstream acceptance of drag is largely credited to the immense popularity of RuPaul’s drag race in mainstream culture which predominantly centres around cis-gendered gay men. 

Numerous participants on RuPaul’s Drag Race incur substantial amount of debt to purchase or create costly attires for competing in what is referred to as the ‘Olympics’ of drag. Without any assurance of recovering the investment. Success hinges on gaining acceptance from the fanbase and sustaining a thriving drag persona.

The integration of drag into mainstream culture coincides with the increasing social acceptance of personal sexuality. As evidenced by data from 2018 British Social Attitudes survey, 66% adults view same-sex relationships as ‘not wrong at all’ which is w stark contrast to 11% reported in 1987.

Few Drag performers have shared that how ‘Drag Queens’ are in more privileged positions in the Queer community and how they receive praise for getting into drag.

Local drag competitions are giving drag performers regular income and networking opportunities with other drag performers. 

RuPaul’s drag race fans like to believe that drag-performers are well-paid and financially secure but often that is not the case. Many of them have full-time or part-time jobs. Being employed in full-time alongside of drag can put a lot of strain on the performers body and mental fortitude.

A lot of newer drag performers possess undergraduate degrees, postgraduate degrees or excellent music qualifications, one of them said that they could have chosen to be an out of work actor or chosen to do drag. 

It is crucial in this discussion that mainstream drag offers a platform for queer performers to flourish in entertainments that are otherwise heteronormative.
 

Paper 3 :
 

Exploitation of Queer Performers and drag queens:

Behind the glamorous facade of flawless makeup, glittering costumes and exhilarating death drops; a sinister aspect lurks within this television program ‘RuPaul’s Drag Race’. There have been allegations made regarding inadequate compensations towards the contestants and the monopolisation of drag has resurfaced (Joseph 2023). 

Other findings of this research were the constant commentary of the racism and transphobic attitudes that the show enables.

YouTuber BussyQueen provided a detailed breakdown of the contracts the Queens sign to get on the show. They receive a payment of $400 per episode during their initial season with a potential 5% increase in subsequent seasons like RuPaul’s Drag Race: All Stars. 

The contestants are required to present themselves in top form, a process that demands significant financial investment. Figures range from $4000-$20,000. (From other research I have conducted i.e contestant Mistress Isabel Brooks spent an estimate $100,000 for the show and kept a $40,000 budget aside for the Grand Finale costuming and other expenses such as preparation for the performances and this is done because they want to leave a legacy behind through this televised opportunity). The prize money for the winner currently is $200,000. But contestants pay for travel, customised couture, human hair wigs, customised nails, makeup, heels etc.
They are expected to present themselves to the mainstream audiences with the highest level of polish and quality of couture there is. 

The Queens are sometimes not given any privacy and filmed without them giving their consent. They are bound to very restrictive contracts where they do get paid if they are eliminated and their footage gets used as a flashback. They sign very strict non-disclosure agreements and do not receive any royalties.
They are also bound to promote the show on their own social media platforms.

According to BussyQueen, a stipulation in the contract states that the producers of the show may compel a Queen to appear on the show with in the four years of them first appearing on the show and this cycle resets every time they appear.

The article restates how as fans of the show or of Queer arts we must advocate for improved treatment of Queer performers, including clearer contracts and equitable compensation for their contributions. There would be no RuPaul’s drag race without drag queens. 

There was also a mention of how there are multiple franchises of Drag Race now.

Whilst Drag Race has provided a stage for numerous gifted performers who may not have otherwise had such an opportunity, it has constrained their artistic expression and fostering an environment of exploitation and control.
 

Conclusion:
 

After conducting my research so far, I uncovered many nuances about the art of drag reaching mainstream audiences. The literature extracts reviewed above comments on the commodification of drag, how in order to sustain its fandom it appeals to white-ruling class femininity. It also reveals how the show RuPaul’s drag race’s perceived insensitivity towards heavy topics such as transphobia. It talks about exploitation of drag performers and compelling them to adhere to racial stereotypes for viewer engagement-ship. It highlights how RuPaul only cares about his own personal branding and is not very interested in preserving the roots of drag or attend to the long-term wellbeing of the shows contestants. It also explored themes of how drag queens in Britain are often looked at as local celebrities and the pros and cons that come with that perception. I have conducted other forms of research as well, most of it either Villainises RuPaul and his show or participate in over glorification of the show. There is not much said as a solution to all this other than Boycott RuPaul’s Drag Race and support local drag. 

In my dissertation I aim to delve further into the intricate interplay between media representation and social attitudes towards the Art form of Drag. I will also discuss the multifaceted impacts of RuPaul’s drag race and how drag culture has broadened societal dynamics. I aim to uncover both the positive contributions as well as the negative effects on individual and communities through rigorous analysis. Ultimately this research aims to offer valuable insights that can inform methods of promoting equality, diversity and inclusion in contemporary society. I aspire to discuss viable approaches for nurturing and protecting Queer arts, including raising awareness, promoting accountability and establishing fair working conditions. By examining these issues comprehensively, I hope to contribute to a better understanding of drag culture’s significance and its implications for broader societal dynamics.

 

 

 

References: 

HODES Caroline, Jorge Sandoval (2018) ’RuPaul's Drag Race A study in the commodification of white ruling-class femininity and the etiolation of drag’ Studies in Costume & Performance’: Intellect Ltd.
 

MCCORMACK Mark, Liam Wignall (2021) Drag Performers’ Perspective on the Mainstreaming of British Drag: Towards a Sociology of Contemporary drag: SAGE Publications ltd.

Drag Performers’ Perspective on the Mainstreaming of British Drag: Towards a Sociology of Contemporary drag: SAGE Publications ltd.


Drag Race season 15: The exploitation of queer performers and drag queens
By Regina Joseph 

https://fightbacknews.org/articles/drag-race-season-15-exploitation-queer-performers-and-drag-queens  
02 May 2024