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THE VOGUE CULTURE
What is Vogue exactly ? Origins : Harlem in the 80s The dance elements A total art ?
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A social world The ballroom structure A place of acceptance The extravagance against the pain
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The gender question More than 2 categories A celebration of sexuality
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Relationship to fashion A consumerist culture Reciprocity of inspirations
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Towards a popular culture Global Roots Popularization Expansion
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Photo report of a voguing workshop
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Is voguing for everybody ? Vogue is not for you (reference)
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What about today ? Interview with mother Leo Melody
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Bibliography p.53
1. what exactly is voguing ? ORIGINS : HARLEM IN THE 80S Vogue dance was born in the afro-american and latino gay scene in the 80s, in Harlem. People then would look up to magazines and fantasize about a glamorous world. They would picture themselves as superstars, and therefore build a dream image of themselves, whereas society would reject them both as gay and as an ethnic minority. Originally called "presentation" or "performance" it is all about the show ! Voguers gained mainstream exposure when featured in Madonna’s video and song "Vogue" in 1990. Then, in 91, "Paris is burning", a documentary about voguing as a subculture won the Grand Jury Prize at the Sundance film festival, which brought vogue to mainstream culture.
Vogue dance always has been expanding. It originated in Harlem, but quickly developed into regional scenes and chapters, which again evolved into a national scale in the US. You could then find major balls in different regions. And today, Voguing has been brought until Europe, in Amsterdam or Berlin for instance, where houses are and competitions take place.
Voguing started as a certain style before the 90s, which evolved as time passed by. Today you can find three styles, each of them with their specificities. In general people compete for one style in particular, but all of them are represented in competitions. THE DANCE ELEMENTS Today there are 3 styles which you could perform : Old-Way, or the pre-90 way, New-Way, or the post-90, and Vogue Fem. But, of course, this division should not be taken as established once and for all as styles are constantly evolving. What characterized Old-Way are lines, symmetry, precision. The result should be graceful and fluid-like. It is a fashion-inspired style, as in the early origins of the dance. The way to perform is a duel between two rivals, where one must "pin" the other, which means stop him or her from being able to move. New-Way is characterized by rigid movements, coupled with "clicks", which are joints
contortions, and "arm control", hand illusions. Flexibility is needed ! It looks more like a mime performance, moving imaginary geometric shapes around. And finally Vogue Fem is extremely fluid and feminine, inspired by ballet, jazz and modern dance. There are five elements of Vogue Fem : hand performance, catwalk, duckwalk, floor presence and dips & drops. When competiting in a Vogue Fem battle, contestants should showcase all five elements in an entertaining fashion. Vogue is the combination of those five elements, and contestants bring the sixth one which is personal style.
" searching for the right pose, when the photographer says move !" A vogue dancer in the documentary ÂŤParis is BurningÂť
A TOTAL ART It is not a surprise that voguing was originally called "performance". Because people who practice it almost perform the way an actor would. They invent a character for themselves, practicing before and perform it on a stage with a careful chosen outfit, as a costume, the way a theater actor would. It demands imagination and creativity to bring one’s play alive, but also physical strength, for the dance part. Because yes, it is a dance after all. With all the technicals aspects you could find in ballet, and they need time to master the technical aspects. They practice, as dancers, until they develop the perfect technic.
But that is not it, far from it. It also involves fashion, and music. Moreover, it brings fashion and music together. It is fashion made alive. The dancers bring life to the costumes, they pose as models, but models who move, instead of still pictures in the magazines. They have their own interpretation of fashion. But we could go further than this, and say that voguing is a fashion in itself, being in and out. And that this fashion has evolved, possibly following and reflecting the evolution of the mainstream fashion.
2. a place of freedom
with its own codes
THE BALLROOM STRUCTURE Vogue is not just a dance, it is also a social model, which is very much structured. Voguers group themselves into "houses", run by a mother or father figure. The "children" of the house can find support by those parents, support which often they could not find by their biological family. Houses are like families which accept you as you are, a sub-community in a sub-community. Before the 90s, voguers would just hang out places, gossiping and finding about the next ball. People would just watch others and learn. Houses can be divided into chapters in different regions. Some houses, like House of Garçon or House of Icon, became legendary. Houses meet during events called "balls", which are competitions between dancers. The winner is elected by a jury. One could achieve his or her dream of fame by winning those competition and therefore become well-known, at least in the vogue scene. This is also a way to mesure yourself to other without violence or crime, which are a major issue in every marginalized minority .At balls, you could
"perform" or "walk" for one the different categories like runway or vogue fem, but also today sex siren, where you have to demonstrate your sex appeal in underwear, duckwalk, where you have to walk crouched - very physical -, or also face. Everybody has his or her own category or favorite style which fits to his or her look and personality. So it is a very much structured world, a world in itself, you could say, which gives structure to people who may need it, especially young people who can find there a validation of who they are. Even after a while, when voguing’s popularity declined, the houses would play a preventive part in the major AIDS crisis of this time, when voguers where being decimated by the virus.
A PLACE OF ACCEPTANCE 1990, the documentary "Paris Is Burning" won the Grand Jury prize. Twenty-five years later, despite gay marriage being legalized in a growing number of states and TV shows like "Transparent" and "Orange Is the New Black" featuring transgender characters, ballroom still serves as a place of acceptance for participants who find themselves otherwise marginalized. "To cope with issues, we got our own way of dressing, of talking, and of voguing". The balls are a privileged place where they can express freely, without people being judgemental. "I come out and I let out my pain, my feelings". Be yourself and have fun with other people‌
"when you walk, you feel like a celebrity with all the flashes..." A documentary on youtube
THE EXTRAVAGANCE AGAINST THE PAIN This expressivity is specific to the voguing world. The more the better. Because it is about pretending you are someone, like a celebrity. When they walk at least, they feel like one, there are flashes everywhere as in a real fashion show. They say they feel more alive. They say " I’m the bitch here ! ".
Indeed, it is a culture of self-staging, where everything is about the show, about who they are on stage and about blowing everybody’s mind. It is their moment, it belongs to them and they show everybody what they are capable of. The point here is to have fun, first, to let everything go and pretend they are like a celebrity with all the attention to themselves. And they put a lot of exaggeration to this moment. If the real world doesn’t want them, they will create their own replica, of course interpreted and exaggerated to the maximum. As one says, "Be our own stars, be our own people, this is our own hollywood !" With an extravagance supplement of course…
3. The gender question MORE THAN 2 CATEGORIES If we look at pictures from the beginning of voguing, we mainly see men dressed up as women. So what about the gender here ? Are we talking about men, or women ? Well, the thing is that, with voguing, you have more options that just those two. Again, we will talk about the different categories one could compete for, as the different possible identities one could take.
So for a voguing competition, you have to choose the category you want to compete for. There is, amongst others, Butch Queen, Femme Queen, Buquid, Butches, Women, Men. But if you choose one of those categories, you also choose a kind of character you want to develop. It is a role-play : you choose the category, or gender you want to impersonate, the one that fits you, and you put up your character based on that. So as we can see, those categories do not completely break from the hegemonic and heteronormative norms, but they offer more possibilities, and so identities. Because it is question of identity here : as the character they play, but also as themselves, and as a sub-community, as a minority, as gay and as black. So if we look at the mainstream
exposure of voguing, and at the fashion world for instance, we can see that it has brought attention to transsexuality issues and LGBT community worldwide.
There is one thing in the transsexual world called "realness". What is realness ? Well, basically, it is one’s ability to blend in, and impersonate a gender with a successful degree of imitation. And what is interesting if we look at those imitations, is that they do not only imitate icons from the glamorous world, but also everyday characters as bank executives, office workers, etc. It shows their longing to belong to the norm, to the normal world. It shows that they do not want to be aside of the society, but that they want to "pass" as normal (as in norms). But actually, the picture everybody has in mind is those imitations that look more like parodies. So is it about realness, or do they want to parody a certain world ? The key here is to make the distinction between transsexuality as commitment to passing, and transgenderism as a resistance to passing. Both being equally valid.
Voguing, with its emphasis on seduction, is a celbration of the body, of every - body and everybody, with a large acceptance of sexual orientations.
A CELEBRATION OF SEXUALITY Let’s take the example of Madonna, whose world is largely inspired by voguing and the voguing’s world values and representations. In "Vogue", but also in "Girl Gone Wild", which is another reinvention of voguing, she implicitly- or not even!- refers to sexual deviation. But what is deviation ? Voguing in fact is a subversive play on gender performativity in fashion and popular media.
If we look closely at the wardrobe, we often find a sexual connotation, as if the sexual aspect of voguing was meant to be exaggerated. There is even a whole category dedicated to sex appeal, where dancers perform in underwear and whose goal is to elect the most sexually attractive or suggestive person. So this is not necessarily even a connotation anymore. But this exaggeration is also what makes it human : voguing is a celebration of the male/female form, a celebration of beauty without any distinction.
4. Fashion and materialism A CONSUMERIST CULTURE ? From their misery, they dream. What do they dream of ? Gold, sparkling jewelry, crowns. This world they dream of, it is a world of privileges and money. The attitude they try to copy, but also the visible signs of it, the things themselves. Vogue glorifies fashion and material goods. They wear on artifacts that suggest glamour and luxury, and take as their own the signs of richness, exaggerating them. It may turn out to be a parody of some idea of luxury but their longing for luxury is real. Voguing is an art that is inextricably linked with ideas of fashion, luxury and social and economic mobility. And indeed, for some of them lucky enough, vogue balls is just a starting point towards a successful career. Many voguers have become choreographers or worked for fashion shows, and by this, got out of the margins of society.
RECIPROCITY The origins of voguing lies in fashion magazines. It was a particularly strong act of devotion to name one’s house after a fashion brand, considering the world of pret-a-porter was rarely accessible to them. As said before, they took elements from the fashion world and reinterpreted them in their own way : cloths, gestures, attitudes.
But today, it’s the opposite. Fashion, art and music seem to be increasingly influenced by ballroom culture rather than the other way around. Voguers have become the new arbiters of taste ! How can we explain today’s interest of fashion for transgender and kitsch ? Is it the search of new ? Or is it that "gay is the next black ?" Or even a natural step in a shift towards diversity ? Fashion industry, as always, reflects what it sees. And they see voguing, which apparently they like. Maybe because this world, despite faking something they can’t have, feels still more real, insclusive, and expansive, which are values dear to fashion.
5. Towards a popular culture GLOBAL ROOTS Even in name, voguing finds its roots in global popular culture. It is named after the popular magazine Vogue, which is a powerhouse in fashion journalism that is published in 8 different countries and follows fashion trends all over the world. By emulating the preening and detail of fashion posing and modeling, voguing establishes global relevancy by referencing universally recognized gestures and stances. The obsession with celebrity also deepen voguing’s roots in global culture. Participants in drag balls mimic the fashion of global celebrities as a way to live out fantasies of grandeur without the reality of wealth. By perpetuating a referential homage to global culture, vogueing is a unique example of American vernacular movement based in global trends rather than U.S.-centric experiences.
"I like vogue because I can play dirty" One of the participants of the voguing workshop I went to
POPULARIZATION Voguing was first appropriated by pop culture by pop music icon Madonna in her 1990 single “Vogue.” She recruited dancers from the actual vogue scene to work with her and choreograph the video. Ever since Madonna imprinted voguing into the minds of pop music consumers worldwide, the dance form has enjoyed a continual exchange with popular culture. While in its early days voguing appropriated the fantasy of fame, the fame of voguing fueled mutual dependency and inspiration between mainstream commercial entertainers and the participants of the underground drag ball scene.
By bringing voguing into the limelight, Madonna created a market for voguing in the commercial entertainment world. As interest in voguing spread, the popularity of the already critically-acclaimed Paris Is Burning skyrocketed. Other dancers outside of the the house of Xtravaganza also highlighted in the film catapulted to fame. One of those dancers, Willi Ninja, became one of the most recognizable vogue dancers, choreographers, and modeling coaches in the world. Ninja’s success is indicative of the type of apetite popular culture had for voguing.
EXPANSION During my research, I have been to a voguing workshop where teenage girls where taught how to vogue. But this is not the only example of the type. At the popularly known Broadway Dance Studio in New York and Millenium Dance Complex in Los Angeles, students can study not only with vogue instructors from the early ballroom days, they can learn from instructors that mastered voguing in ballrooms in London, Toronto, Chicago, and countless other cities previously unconsidered in voguing’s history. Not only does voguing reference a global culture, it has become a global network and a commercial phenomenon of global culture.
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I am a multiethnic, mixed-class, queer man who is dedicated to combining arts and radical education to inspire community-committed action. My writing has been featured in the anthology Taking Sides: Revolutionary Solidarity and the Poverty of Liberalism, as well as at Truthout, Socialist Worker and other education, abolitionist and feminist-based media.
6. Is voguing for everybody ? VOGUE IS NOT FOR YOU: DECIDING WHOM WE GIVE OUR ART TO May 31, 2015 by rad fag
When visibility reveals itself to be exploitation, we don’t have to condone it. When visibility reveals itself to be apolitical exploitation, we don’t have to condone it. I began voguing as a sixteen year old high school student.
Still struggling with what it meant to be gay and Black, learning of the ballroom scene both relieved me and ignited within me whole new passions. It had never occurred to me that I could be openly queer without sacrificing my Blackness. It had never occurred to me that whole communities, whole traditions, whole histories existed that were Black, queer, Brown, femme, trans, poor, working all at once. My original interest in vogue, therefore, grew from the deep desire to be all parts of myself authentically and simultaneously. Learning to vogue was learning that the embodied knowledge of my multiple oppressed identities had always informed one another. Once I understood this within my own body, I learned to see it in my family, my community and the larger social structures that governed my life.
At least once a week, someone sends me an article or video of voguing appearing on a European runway, in an upscale art gallery, or a new music video by a pop artist, and asks me what I think. The inquiry always revolves around the ethical use of vogue: Were the dancers named and given credit? Did the artist properly compensate the voguers she worked with? Who is in the audience consuming the dance form? Ultimately, the question is, can voguing be appropriately appropriated? My answer is always the same: No, it can’t. Appropriation is always a form of coercion, and that coercion is born out of white supremacy. Here is what I mean: There is a deep history of white supremacy in the ballroom scene. Much of it was controversially documented in the cult classic Paris Is Burning. The film’s thesis is ultimately that trans/ queer people of color are doomed to their own depraved outsiderness, and while their yearning for acceptance by the mainstream is futile, it is, at least, flashy. While the movie itself is a white supremacist document (and its conclu-
sions about the ballroom scene tainted by its white cis director), its very existence uncovers something real: There is a real issue of our community finding its value in its consumption by other, more privileged communities.
professional dancers, to companies who want to use it to make choreography. I will not teach it in white spaces, in wealthy spaces, in spaces that are not queer-controlled and affirming. My conviction for taking this stance is this:
Vogue is blowing up in new ways in European dance studios, in suburban recreational centers, in movies and music videos. As has long been the case, voguers often don’t see themselves as successful, don’t feel they can be taken seriously as dancers until they are able to teach, perform or be featured on one of these platforms. The internalized message is clear: Voguing at a ball is the starting point, but voguing for the elite is the mark of success.
Voguing belongs to queer people of color— specifically trans, poor, working, sex-working, homeless and young queer people of color. We created it, we need to be the ones dancing it, and we need to be the ones protecting it. In a society that is constantly limiting our access to housing, education, land and resources of all types, it is laughable that the privileged find such discomfort in our limiting their access to our bodies, traditions and genius. Anyone who objects to being told they can’t vogue needs to first ask themselves how they are impacted by the systems that result in the daily deaths of queer people of color, and what they are doing to combat our institutional disenfranchisement.
This mentality results in the disinvestment in poor and working queer communities for the sake of teaching vogue in spaces that never created or shaped it, but that are fascinated by it, and have the resources to consume it. Instead of expert voguers taking pride in passing on their knowledge to the young oppressed people most in need of it, new generations of our community are abandoned for the notoriety of white, wealthy, straight, cis patronage. Opportunities for mentorship, empowerment and intergenerational solidarity are lost, and the alternative only serves to further make the plight of our communities invisible—obscuring homelessness, poverty, state violence and police brutality behind the glossy sheen of commercial spectacle. And yes, even when artists of color appropriate our art form, white supremacy is still at play. Beyonce, Kelly Rowland, Jennifer Lopez, Estelle, Janelle Monae, Lil Mama, and FKA Twigs have as much to do with our exploitation as Madonna, Lady Gaga and Jennie Livingston. For philosophy aside, our cultural cameos in these (corporate) artists’ work have done nothing—do nothing—to illuminate our histories of struggle, nor to combat the structures that generate our need for resistance in the first place. Cis people, straight people, wealthy people, even those who share some of our other oppressed identities, still desecrate our art and our community when they objectify our aesthetic, without taking on accountability for the ways they benefit from the violence we face at the hands of the systems that are cutting their checks. Because there is such a long and well-documented history of the appropriation of vogue, it is one I do my best to take a hard line in discontinuing. I will not teach voguing to
I currently work at a drop-in center for homeless trans and queer youth. Voguing is part of our everyday routine. Every day I watch young queer people use it to resolve disputes, lift their spirits when they’re feeling defeated, affirm their bodies, build their confidence and shape themselves as artists, teachers and leaders in their community. There is nothing more powerful to witness, and no better use of the form I can think of. I am blessed to be able to co-teach voguing workshops at this same drop-in center. The guidelines that ground the philosophy and values of our workshops, and which we try our hardest to incorporate into every new session, are these: We have knowledge – Our lived experiences as Black, Brown, poor, working, homeless, immigrant, sex-working, trans and queer people have taught us skills, given us knowledge that no one else can claim, no matter how much they study or read about us. We have the right to share our knowledge with each other – Our wisdom is real and valid, and we are the deserving recipients of each other’s learned knowledge. The truths we posses don’t become valuable when those from outside our community take an interest in them. They are valuable because they come from us! Our needs change – The conditions we need to share our knowledge—like the conditions we
need to live full lives—change as we change. Our learning space, our communities and our movements need the flexibility to change as we do. We are the ones who will determine when, where and how those changes occur. We are experts – We are the voices that need to be heard, and we are the ones most in need of hearing them. No one understands queerness, transness, homelessness more deeply than we do. No one is better prepared to teach us how to survive than we are. No one can come up with a more vivid vision for the future of our community than we can. Our history is now – We are agents of change! We are the shapers of our community’s future! This realization teaches us to build our communities on trust, generosity and affirmation, and to act with the knowledge that future generations of our people depend on us! The point of all this is that voguing is a tool we created, not merely for expression, but for organizing, empowering, surviving the daily violence of a white supremacist society. This tool will never mean the same thing, can never serve the same purpose for those who do not share our same need for survival. The benign belief that crossing boundaries always promotes diversity, that sharing space and culture results in sharing privileges and resources, needs to be finally debunked. For this same soft rhetoric is destroying Black and Brown communities, forcing people out onto the street and filling up prisons. The truth is that when the powerful cross boarders, the flow tends to be unilateral. When the wealthy lay hands on our culture, the outcome is our displacement, not our inclusion. The endpoint is the depoliticizing of our most sacred sources of resistance, which only benefits those who seek to quell our demands for change. The best way to support our community, to show us love, is to give us room to affirm ourselves and each other, and to share our wisdom with those who really need it. It is to fight alongside us the systems that deny us our basic rights and resources—heterosexism, transphobia, prisons, policing, gentrification— not robbing us further in the name of visibility and tolerance. Special thanks to NIC Kay.
Georgina Philp was one of the first German dancers to introduce Waacking and Vogueing in her vocabulary. Georgina gives regular workshops in Berlin under the name «Berlin Vogueing Out». 2012 Georgina founded one of the first german houses, «the House of Melody» and together with her business partner Songül Cetinkaya, organized the first Voguing ball in Germany.
7. What about today ? INTERVIEW WITH GEORGINA AKA LEO MELODY FROM BERLIN How did you come to voguing ? I went to New York and there met my mentor, Archie Burnett, and from there I just fell in love with it. Today it seems we see voguing everywhere, what do you think of voguing having become a mainstream thing ? I think this is a good thing, mainly, because this is a very interesting culture. It offers a lot of freedom, to express yourself, and I think it became popular because there was a need for this dance style. What do you mean ? You have hip hop, but voguing offers something more feminine, which is interesting. What is different between Europe and New York for instance ? We really are building a voguing scene in Europe and have been for the past couple of years. There are people who are there to make a commercial use of it, but there are also people who take it seriously, and who are there to make something good with it. Those people brought a change to the american scene, also. People have been going to New York, and it created a revival there. Of course this is good for us, because it means more work, more events… But of course also there are people who are not happy about it,
because people are not doing it the right way or so… What is the purpose of having workshops ? People have seen it with Madonna, and in places, and they want to try it. I teach them the dance, but also what’s behind it, and I teach them the correct technique, which is hard. Voguing looks easy when you see people dancing but then you try it and you realize it’s not ! (she laughs). Then there is a next generation, which is good. Is the goal to open voguing to a larger audience ? In a way, yes, a larger audience, but involved. Voguing is joyful, so it’s contagious, people want to come back ! And it also brings people together, from different backgrounds, so yes, the goal is to open it up, but to make people aware. How has the european voguing community evolved ? It started around 2006-8, around that and now there are a lot of events. You can find everywhere you go a voguing every month or two or three. There is a big demand, and also a big part of organization, so the activity around it. It grows with new people overtime, some of them are here just for fun,
but some also are really interested, and they need this kind of platforms. About that, are houses still playing their role of family for people who may need it ? The question here is also how do people decide who can enter the house. A few years ago, a lot of european dancers were added to american houses. But supporting people is a good thing. It may not be as it used to be, but there is still a feeling of community. You’re in your house, you organize events… Some pick people because they are good dancers, but it’s really a mixed thing, it’s up to the house.
"People like voguing because there is a positive energy, it is about confidence, this is me here I am you know, people are not used to that in real life" And how is it in your house ? What do you do as a mother ? Well, I take care of the training, I make sure the kids have the right information, I guide them in their artistic process. I push the house as a crew, I organize events, or shows, or trips.. For us it’s a bit a lot about communication issues, because we’re both in Berlin and Düsseldorf, so it’s a challenge to be in both places. I was wondering, who comes to the balls today ? For the performers, they mainly are dancers who discovered voguing at some point, but also some random people nobody knows were they come from, they’re from the gay scene, and you have nice surprises sometimes ! For the audience, they are friends of people performing, but also artists, or people into fashion, normal people who hear from someone it’s really cool. It’s a mixed audience, really, gay, straight, everybody. But at least that’s how it’s like here, in Germany. Because in Paris it is more black and gay, it’s more close to the New York ballroom scene.
Why people like voguing so much ?? It’s entertaining, it’s a show, there are outfits… It’s also that the battle kind is more interesting that in hip hop for instance. Because the « ballroom style » means that you have two people at the same time, so you have a direct exchange, more interesting as a battle, you don’t know what’s gonna happen ! There is also a positive energy, it is about confidence, this is me here I am you know, people are not used to that in real life, they’re more modest. Voguing is about celebrating yourself and other people and that is very enjoyable I think. What is your inspiration ? The music comes first, because it is what makes us move, but also people just being themselves, inspiring actors, models I look at (I like that energy !), people you learn from and enjoy watching. The atmosphere of the performance, being a part of it, the thrill of being there, presenting yourself in a different character. Do you still have the same character or does it change every time ? Characters change over time because balls each have a theme which changes, so you have to adjust. But in the theme it's clear what is your personality by the dance, and by what you feel.
"Friends of people performing, but also artists, or people into fashion, normal people who hear from someone it’s really cool. It’s a mixed audience, really, gay, straight, everybody."
BIBLIOGRAPHY
internet - general
http://weownrotterdam.nl/owned/item/house_of_vineyard_presents_the_winter_wonderland_ball/ http://houseofnaphtali.tripod.com/id3.html www.berlinvoguingout.com/ http://giphy.com/search/voguing
imagery
thanks to the house of Vineyard and Leo Melody pictures taken during the workshop in the Gleispaleis of Heerlen
articles
http://www.latimes.com/entertainment/arts/la-et-cm-ca-vogue-20150510-story.html https://en.wikipedia.org/wiki/Vogue_(dance) https://en.wikipedia.org/wiki/Ball_culture http://www.huffingtonpost.com/janet-upadhye/vogue-not-madonnas-dance_b_1613478. htmlhttp://www.theguardian.com/fashion/fashion-blog/2014/nov/18/-sp-vogueing-dancecame-back-into-vogue-madonna http://radfag.com/2015/05/31/vogue-is-not-for-you-deciding-whom-we-give-our-art-to/ https://sophia.smith.edu/blog/danceglobalization/2012/05/01/voguing-madonna-and-cyclical-reappropriation/
videos
https://www.youtube.com/watch?v=e9euKc7Z7UU https://www.youtube.com/watch?v=AiZvCe6u4x8 https://www.youtube.com/watch?v=Q3HFwDFF42Y www.vice.com/video/french-drag-queen-dance-battles
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