Decolonize Drag av Kareem Khubchandani

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<p>The global popularity of TV reality competition <em>RuPaul¿s Drag Race</em>, screening its 14<sup>th</sup> season in 2022, is an unprecedented global queer phenomenon. It has spawned official spinoffs in Thailand, the UK, Italy, Spain, Australia/New Zealand, Chile, the Philippines, and the Netherlands, as well as a host of other series such as <em>Dragula</em>, <em>Camp Wannakiki</em>, and <em>Las Mas Dragas</em>. As drag enters the mainstream through a particularly fabulous, feminine, commercial, and mediatized format, various forms of gender-based performance across the globe fall out of the purview of what we (could) call drag. A range of performance practices that mimic, play with, and reinvent gender become obsolete as drag concretizes into archetypes offered by <em>Drag Race </em>and its counterparts. <em>Decolonize Drag </em>details the ways that gender is used as a form of colonial governance to eliminate various forms of expression and performance, and tracks how contempora