On 17 June, the Gaîté Lyrique hosted the “The Stars of Paris are Shining Ball”. By opening its doors to these balls, the Gaîté Lyrique, along with other renowned Parisian cultural venues such as the Carreau du Temple or La Villette, has played a key role in transforming the city into a dynamic and enduring hub for ballroom culture. Originating in the United States, ballroom culture has found fertile ground in Paris, making it one of the most prolific scenes in Europe. Trailblazers such as Nikki Gorgeous Gucci and Lasseindra Ninja, as well as Vinii Revlon, the first European voguer to be crowned a Legend and the esteemed Father of the House of Revlon, the first French house to participate in Legendary, have made indelible contributions to the Parisian ballroom landscape. Rheeda Ladurée, visionary founder of the first French house Ladurée, has also played a key role in shaping the community. The talented Keiona, revered as the Mother of the House of Revlon, and Mami Wata, both from the ballroom dance scene and of Ivorian origins, add to this endless list of exceptional individuals. Their impressive abilities and captivating presence will be on full display as they take part in the highly anticipated second season of Drag Race France. With these influential personalities and their remarkable achievements, Paris has rightly earned its reputation as Europe’s ballroom capital.

Unveiling the Historical Roots

The roots of ballroom dance culture date back to the 19th century and are intimately linked to the thriving drag culture of the time. Pioneering the movement was the remarkable figure of William Dorsey Swann, the first self-proclaimed “queen of drag”, who boldly organized secretive drag balls where, according to the authorities, “colored men dressed in female attire”. The interwar period and the Harlem Renaissance propelled New York City to the forefront of drag culture, making it a vibrant centre of creativity and expression. The city hosted extravagant events like the Hamilton Lodge Ball, where opulent drag performances captivated audiences and cemented New York’s reputation as a thriving centre of drag culture.

Strangest and gaudiest of all Harlem spectacles in the ’20’s, and still the strangest and gaudiest, is the annual Hamilton Club Lodge Ball at Rockland Palace Casino.Langston Hughes, The Big Sea (1940) 

Unfortunately, these drag balls were marred by deep-rooted prejudice and systemic discrimination. Despite a breakthrough in 1936, when a black queen triumphed and won first prize at a grand ball attended by over 8,000 people, the judging process revealed a favouritism towards white contestants, highlighting the pervasive racism within the pageant circuit.

In 1967, Crystal LaBeija, who had earned the third position as Miss Manhattan, famously implicitly denounced the injustice that Black and Latinx queens endured. The crowning of a white contestant as Miss All-America Camp Beauty Pageant served as a catalyst for Crystal LaBeija’s activism. Alongside Lottie LaBeija, Crystal took the lead in a groundbreaking movement by establishing the Royal House of LaBeija in 1972. This pioneering house aimed to challenge the prevalent racist practices that plagued the drag contest scene. While there were isolated instances of inclusivity in the past, such as Marcel Christian’s all-black ball in 1962 specifically organized for Black individuals, the establishment of the House of LaBeija marked a pivotal moment in the evolution of ballroom culture. Subsequent houses emerged, including notable examples such as the Ebony,  Xtravaganza or Ninja houses. These houses were organized as close-knit family units, providing support and a sense of belonging to their members. Within these houses, individuals took on the roles of “mothers” and “fathers”, creating a substitute family dynamic where they offered guidance, mentorship, and a nurturing environment to their “children”. Within the ballroom community, these houses provided a safe space for individuals who often faced rejection and discrimination from their biological families and society in general. They nurtured a deep sense of belonging, solidarity, and empowerment, creating an inclusive environment where these children could freely celebrate their true selves.

From Drag Culture to Ballroom

Within the ballroom scene, houses engaged in competitions, featuring a diverse range of participant types (e.g., femme queen, butch queen, and more) and categories (e.g., face, body, realness, and others).

Notably, voguing emerged as a distinctive component within the performance category. Originating in the 1970s, voguing found its roots in gay bars, predominantly embraced by Latino and African American gay communities, particularly in New York. The initial iteration of voguing, known as the “Old Way”, drew inspiration from the sleek movements, precise poses, and symmetrical aesthetics commonly depicted in fashion publications like Vogue, thus lending it its name. As the ballroom culture evolved, new dancers brought their unique ideas and identities to the stage, propelling the dance style forward from the “Old Way” to the “New Way”. This transformation involved a heightened tempo, increased flexibility, and intricate contortions, redefining the art of voguing.

In addition, a later evolution of the ballroom dance scene introduced Vogue Fem, also known as “Vogue Like a Femme Queen” (=trans woman). This highly codified and improvised dance style comprises several key elements. One of these elements is the expressive use of “hands”, where intricate hand movements become a medium to convey emotions and narratives. Drawing inspiration from the world of high-fashion catwalk shows, the “catwalk” element involves executing graceful walking movements that exude elegance. Acting as a transitional phase between the catwalk and the floor performance, the “duckwalk” showcases a unique footwork style. On the floor, dancers engage in a captivating display of sensual movements during the “floor performance” component. Finally, voguing features the visually striking “spin & dip” elements, where dancers execute impressive spins and dramatic dips, adding an element of theatricality to their performances.

Voguing is a highly codified and improvisational dance form. While it follows a set of defined movements and techniques, dancers have the freedom to interpret and improvise within the established framework. This unique combination of codification and improvisation allows dancers to showcase their creativity, resulting in mesmerizing performances on specific music during battles.

These battles bring together participants, the jury, the DJ, and a partially composed audience consisting of the houses themselves, along with stylists, hairstylists, and makeup artists.

Overseeing the entire event is the host and/or commentator. The host's role is to ensure the smooth progression of the categories, call out the participants, and convey messages to the audience, including announcing the judges' scores. The commentator serves as the master of ceremonies, providing live vocals to accompany the performances. Their chant becomes a source of energy, supporting the dancers and delivering countdowns to conclude each performance. One notable example is the voice of Kevin JZ Prodigy, sampled from the track "Feels Like” by MikeQ used by Beyonce for the track “Pure/Honey”.

A culture « in vogue »

The ballroom scene, much like other marginalized cultures, has undergone a transformation from its origins in underground clubs to its integration into mainstream culture. Its impact can be observed across various aspects of society, spanning from Madonna’s “Vogue” to Beyoncé’s latest album. The ballroom culture has influenced and left an indelible mark on fashion, music, photography, dance, cinema, and numerous other art forms. However, amidst this process of cultural assimilation, there is a genuine concern regarding cultural appropriation, evident in controversies surrounding the renowned documentary “Paris is Burning” by Jennie Livingston and more recent incidents like an Apple advertisement. Preserving the essence of this culture, which embodies resistance and resilience for marginalized communities, presents a significant challenge. In response, Habibitch has taken up the mantle by organizing a dance conference, alternatively referred to as “militant stand-up”, titled “Decolonize the Dancefloor”. Through these endeavors, the aim is to protect and honor the authenticity of the ballroom scene while engaging with the issues surrounding cultural appropriation. However, according to Kiddy Smile, International Mother of the House of Gorgeous Gucci: 

It is impossible for this movement, this dance to become mainstream because it is entirely about expressing what we go through. About the homophobia we experience. About the racism we experience. And as long as these issues are not resolved in society, we cannot be assimilated into a culture that is considered mainstream. And as long as young people of color or young homosexuals do not have the opportunity to express themselves, to express their sexuality or gender identity wherever and whenever they want, there will be a need for this scene and for this scene to exist.  Kiddy Smile