“I’m a simple girl,” the self-proclaimed “Mother” of Filipino Alternative Drag Worshipthegays jokingly tells Rolling Stone Philippines.
The artist, who goes by Worship for short, is far from simple: Known for a subversive drag style that plays with a delightful excess of themes and motifs — queer faith, experimental theater, spoken word, impersonations of politician Juan Ponce Enrile singing “My Way,” pre-colonial myths, and androgynous prosthetics, to name just a few — Worship has been pushing the boundaries of Filipino drag since she first took to the stage in 2020. What’s more, by organizing events such as NightofWorship where non-conforming Filipino queer artists can showcase their art and perform, Worship has championed building a community for alternative drag.
“Ang dream kasi niya is to be the first National Artist of Drag,” jokes Jacob Arabes, a graduating AB Art Management senior from Ateneo de Manila University. Arabes recently collaborated with Worship on the book WORSHIPTHEGAYS | Radicalizing Drag: Examining the Filipino Alternative, which he has since published as his thesis project.
When asked what exactly is “alternative drag,” Worship is quick to point out its differences from conventional drag performances. “Kapag mainstream drag, mayroong tayong conventional beauty,” says Worship. “Pero yung alternative drag, siya yung nagre-react doon sa kung ano yung mainstream. Espasyo ito para sa subversiveness, experimentation, at transgressiveness. May mission siya, parang may layunin. May intention siya to subvert, but also to progress. To push yung narrative ng drag bilang more than sa pagiging entertainment. It’s a political and creative movement.”
The Politics of Drag
Worship’s first foray into drag stemmed from an existential crisis. Having grown up in a conservative, born-again Christian household, she had no definite ties to drag until she took up photography while attending college at the University of the Philippines (UP). “If you’re a photographer, nasa likod ka ng lente,” says Worship. “Sabi ko doon, gusto ko mas mapalalim na ako mismo, yung nakakaranas, nabubuhay ko sa sarili ko, yung kinukunan ko. Kasi noong time na yan, queer din yung subjects ko.”
Taking inspiration from queer cult classics like Hedwig and the Angry Inch, The Rocky Horror Picture Show, and Filipino filmmaker Nick Deocampo’s seminal documentary Oliver, Worship explored how to infuse her own experimental perspective into the art form. “Parang yung pinaka-drag career ko talaga is 2022,” says Worship. “Before that, nagda-drag ako pero hindi ko [pa nakikita] ang stage kasi [mas] art queen ako. Naglalabas ko ng photos at self-portraits. Pero hindi ako performer noong time na yan.”
Unlike some of her Filipino drag peers, Worship was particularly focused on exploring the politics of drag. A staunch nonconformist and activist, Worship strongly advocates for LGBTQ+ rights both on and off the stage. Whether by baking a protest sign into her act or creating a character that subverts the Philippines’ conservative culture, Worship uses her platform to defiantly take up space and challenge societal norms.
“Drag is political. Everything is political,” says Worship. Citing her experiences as a student activist at UP, Worship remarks that her commitment to championing causes still remains. “Kahit drag queen na ako, nadadaling ko pa rin yung kamulatan ko.”
The Bible for Filipino Alternative Drag
The idea for creating a definitive guide to the history of Filipino alternative drag first came about when Arabes reached out to Worship to be his thesis subject. “Initially it was supposed to be an exhibition,” says Arabes, “Pero with a book, at least mayroon kang proof that this is Worship’s practice. I think everyone is aware naman of the presence of drag in the Philippines. But not everyone is aware of what drag is exactly, what the practices are, its history in the Philippines, or what even is ‘alternative drag.’ We tried to make the writing as accessible as possible.”
More than just a book on Filipino drag, Worship emphasizes how Arabes’ thesis project has arguably legitimized Filipino drag as an art form within the Philippine academe. “Parang may ambag ang drag, hindi lang sa entertainment kung ‘di sa academia,” says Worship. “Noteworthy ang mga drag queen. Bilang palagay sa espasyo ng Ateneo. Isipin mo: Worshipthegays at Ateneo! Isipin po yung mga Jesuit nagmumulto sa exhibit ng book ko. Parang pinapakyo na rin nila yung book ko.”
Both Arabes and Worship hope that readers see Filipino alternative drag as its own unique countercultural art movement, in direct conversation and opposition with mainstream drag in and outside of the Philippines. Their book delves into the anti-colonial, anti-commercial, and anti-homogenization aspects of Filipino alternative drag, highlighting how the movement pushes back against dominant narratives while fostering a subversive, raw, and authentic artistic expression.
“Yung sinulat nga namin dito, yung lagi kong motto: Drag is political, drag is power, drag is protest,” says Worship.
