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Our Filipino an­ces­tors prac­ticed gen­der cross­ing and tran­si­tion­ing. Spir­i­tual lead­ers like the babay­lan prac­ticed drag, gain­ing “so­cial and sym­bolic recog­ni­tion as ‘some­what women’” dur­ing the early years of our na­tion.


Spaniards found this cul­ture of ours “threat­en­ing” and “prim­i­tive” dur­ing their In­ves­ti­ga­tion of this part of Filipino cul­ture stopped in 1625.


ris ul ul n una was known to be a “gen­der crosser” dur­ing the Amer­i­can oc­cu­pa­tion. Vic­to­ria Stu­dios was where he had his por­traits all dressed in fe­male baro’t saya to Ja­panese geisha robes.


Wal­te­rina Markova (aka Wal­ter Demp­ster Jr.) is a drag bur­lesque per­former dur­ing the Ja­panese oc­cu­pa­tion. He is one among the many gay en­ter­tain­ers who were turned into com­fort gays by the sol­diers.


The con­cept of drag was brought to main­stream con­scious­ness with Ang Tatay Kong Nanay Ko by com­edy king Dol­phy Quizon. Na­tional gay pageants like Miss Gay Philip­pines were es­tab­lished around this time as well.


Drag was known more in the main­stream as a form of com­edy. Al­lan K and other co­me­di­ans per­formed drag in va­ri­ety shows. This gave drag a one- sided per­cep­tion of be­ing a form of com­edy alone.

Present day

their Drag Disco Thurs­days served as homes for drag per­form­ers and their pa­trons. More young the help of shows like Rupaul’s Drag Race hit­ting main­stream suc­cess.

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