Queer culture is a means of expression and resistance for many members of the LGBTQ+ community, but it is often deemed unacceptable in societies that uphold patriarchal and heteronormative traditions.

Society often tries to marginalize, suppress and stigmatize these forms of cultural expression, which do not align with rigid social norms. However, members of the LGBTQ+ community do not back down. They use art and culture as tools in their activism and fight to have their voices heard.

Drag shows, which are primarily a form of entertainment, are an example of this. They’ve also long been a powerful tool for raising awareness, deepening understanding and promoting respect for rights and freedom of expression, regardless of sexuality or gender identity.

In addition to being performance art, drag shows are part of the fight for a fairer and more equal society.

After attending many drag shows in Kosovo, I was inspired to research the history of this art form. In doing so, I noticed an interesting and contradictory phenomenon. The public in Kosovo accepts comedians who use elements of queer or drag culture, but dismiss the drag artists themselves, whether queer or not.

This was illustrated in December 2022, when actor Edon Shileku joined the reality show Big Brother VIP Kosova, making his entrance as Victoria Owns, his drag persona. The audience disapproved of Shileku’s performance, but another contestant, Vedat Bajrami, an actor known for portraying women in his comedy skits, received a favorable response from the audience.

Between activism and spectacle

Drag shows have roots that date back to when male actors would dress as women to portray female characters on stage, such as in Shakespeare’s time and the classical theaters of ancient Greece.

Drag, as an art form that serves to raise awareness of LGBTQ+ rights, started gaining popularity in the 20th century, particularly during the 1920s and 1930s in New York City and San Francisco. Some of the pioneers include artists such as Marsha P. Johnson, a trans activist and a central figure of the Stonewall uprising, and Divine, the drag persona of American actor Harris Glenn Milstead. These pioneers helped shape the drag scene as a platform for resistance, expression and creativity.

Drag shows have also become a powerful form of art and resistance in Kosovo. Although it might seem to be a recent phenomenon, drag has existed in Kosovo for a while. In the 1990s, drag parties were mainly organized in homes and other private spaces. Nowadays, drag shows are increasingly common in public spaces. In the past year, drag performances have found a new home in the center of Prishtina at Bubble, Kosovo’s first LGBTQ+ bar.

Although they happen frequently, the media coverage of drag performances and queer culture is limited. But a year ago, in December 2022, something monumental happened. The Kosovar public witnessed a drag performance on national television with Shileku’s performance as Victoria Owns, which marked an important moment for the visibility of queer art and its cause.

However, his participation in the reality show quickly became the target of hateful and threatening comments on social media. On Klan Kosova television’s social media pages, almost every post about the drag queen Victoria Owns was met with comments calling for his removal from the show and a boycott. There were also calls to prevent children from watching what critics said would be degenerating for the youth.

Shileku struggled to be accepted even within the house. In addition to being a drag queen, Shileku also revealed that he is bisexual. As well as the influx of hateful comments online, several other contestants openly rejected Shileku. In their interactions and remarks, these reality show participants made their homophobic and transphobic biases clear.

From taboo to tabloid press

The exploitation of queer culture in the world of comedy.

Blenda Asllani

From taboo to tabloid press

The exploitation of queer culture in the world of comedy.

Blenda Asllani