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Costuming and makeup are near-universal across the spectrum of drag. Heavily subjective and individually influenced, the makeup and costuming of each performer is unique, with each drag artist often utilizing signature looks and styles. It is common for drag artists to design and create their own clothing.

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The folk group that makes up the drag scene utilizes a unique linguistic vernacular that can be found in the LGBTQ+ community at large. This is a speech style that has borrowed heavily from AAVE (African American Vernacular English) for many decades, in part due to the intertwined history of Drag with the POC-predominant Ballroom Scene of the 1980's and 1990's.

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Additionally, the role of the drag parent includes the passing of knowledge onto their chosen children and family members. This includes makeup techniques as well as costume pieces and the knowledge of how to style wigs.

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The Drag scene is centered around the ritual of the show. Drag is done almost exclusively as a performance and is reliant on an audience-performer interaction.

The ritual is framed in physical contexts by the venue, usually a bar or club. The two most common times for a show are a late morning brunch or an evening show. A growing locale for drag performance is the drag queen storytime, held commonly in public libraries for children.

There is usually a stage or open floor space reserved for performers who may step out of this prescribed location and meander through the crowd.

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Drag Queen Story Hour | New York Public Library // 60 Second Docs

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Drag Queen Story Hour | New York Public Library // 60 Second Docs

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Babylon Brooks is part of the nationwide House of Brooks. She is the mother of Grimm Obscura Brooks, aka me!

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In the context of time, drag show hosts and emcees run the show, framing the beginning and ending of each performance and the show at large. A DJ will frame the individual numbers with music that the performer often lip-syncs to. Drag artists may also dance or sing live.

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Another form of customary folklore in the drag scene is the tradition of special dances, taken from Ballroom Vogue. It is made up of give core elements: hand/arm movement, floor performance, catwalk, duckwalk, and dips (commonly known as death drops)

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The dip, commonly called a death drop, is a crowd favorite and highly technical dance move originating in voguing.

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This is an excellent video providing a brief overview of the history and content of voguing

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Legendary | Werk It: Elements of Vogue (Catwalk, Duckwalk) | HBO Max

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This video explains and demonstrates the difference between two major elements of fem vogue: the duckwalk and the catwalk

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Legendary | Werk It: Elements of Vogue (Catwalk, Duckwalk) | HBO Max

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Audience participation is crucial to the ritual, with tipping and cheering customary for each number. Some audiences only tip the numbers they enjoy, while others are more generous and find it customary to tip each song regardless of personal opinion of the individual performance.

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Some vernacular one might hear at a drag show includes the exclamation of terms such as "Work!" "Slay!" or simply "Yas!". These are positive phrases that encourage the performer.

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BeElzzaBub Doll

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Hand signs or gestures such as waving an index finger, snapping a finger, or repeatedly tapping the middle and index finger to the thumb are all physical ways of expressing enjoyment or agreement during the show.

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There are abundant words and phrases with meanings bespoke to the drag scene, queer community, ballroom scene, or some combination of the three. Phrases such as "Slay the house down boots" might sound like nonsense to an outsider, but evoke a strong response to those who hear it and are in the know.

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Another common term one may come across when around drag scenes is the acronym CUNT, made popular by television drag personality RuPaul. It stands for "Charisma, Uniqueness, Nerve, Talent" To "Serve CUNT" or to appear "CUNTy" is a very positive aspect among drag performers.

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Barnett, Joshua Trey, and Corey W. Johnson. “We Are All Royalty: Narrative Comparison of a Drag Queen and King.” Journal of leisure research 45, no. 5 (2013): 677–694.

Egner, Justine, and Patricia Maloney. “‘It Has No Color, It Has No Gender, It’s Gender Bending’: Gender and Sexuality Fluidity and Subversiveness in Drag Performance.” Journal of homosexuality 63, no. 7 (2016): 875–903.

Hopkins, Steven J. “Let the Drag Race Begin.” Journal of homosexuality 46, no. 3–4 (2004): 135-.

Moncrieff, Michael, and Pierre Lienard. “A Natural History of the Drag Queen Phenomenon.” Evolutionary psychology 15, no. 2 (2017): 1474704917707591–1474704917707591.

Simmons, Nathaniel. “Speaking Like a Queen in RuPaul’s Drag Race: Towards a Speech Code of American Drag Queens.” Sexuality & culture 18, no. 3 (2014): 630–648.

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https://folkloreandexpressiveculture.jimdofree.com/

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Drag Artistry is, through a folkloric lens, a hyperbolic and often inversive presentation of gender for the purpose of entertainment. Drag can be performed by anyone, though it is commonly reserved for members of the LGBTQ community, and is currently dominated by cisgender gay men, although the demography is rapidly changing to include more cisgender women and transgender individuals.

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Trixie Mattel Explains the History of the Word 'Drag' | InQueery | them.

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A very brief history of drag, centered around irs etymological roots and evolution.

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Trixie Mattel Explains the History of the Word 'Drag' | InQueery | them.