Drag: A performance art under attack

When state laws and court decisions make the news, the debate about performance art and free speech usually focuses on legal details. But behind every headline there are real people on stage trying to share their work.

Local drag artist Mindy Arendt said a lot of conflict around drag comes from basic misunderstandings about what the art form actually is. Arendt views drag as a standard part of theater history rather than a modern controversy.

“There’s a lot of misunderstanding about what drag is,” Arendt said. “People love attending an experience and the joy that drag brings, not only to the performers and the community, but to the audience. It’s about how much fun it can be for anybody who appreciates theater,” Arendt said.

For Arendt, putting on a show is no different than any other acting job. “It’s the same thing,” Arendt said. “You’re playing a character; you get to become someone else. It’s a performance of art, no different than Shakespeare or any musical you might go to. It’s just a different format on a different stage.”

When asked about recent judge decisions stating that people who dislike drag shows can simply choose not to attend them, Arendt agreed with the basic logic: “Nobody is forcing anybody to go to a drag show. Nobody’s forcing anybody to do anything.”

Arendt also touched on the arguments often used by critics, such as claims about protecting young people. From Arendt’s view, these arguments usually serve as distractions from bigger social issues. Instead of focusing on artists, public efforts could go toward funding schools, helping low-income families or supporting local communities.

While national political views can feel distant, the hostility around these topics has real consequences for performers in their daily lives. Arendt noted that the ongoing tension takes a toll on artists’ mental health and personal safety.

“It has affected performers so much,” Arendt said. “It makes members of the community feel like there’s something wrong with them when there isn’t. I talk to a lot of performers who are good friends and people are just tired.”

Arendt mentioned that safety concerns now affect basic daily routines. Performers often feel nervous doing simple tasks like walking to their cars in drag or driving to venues. Nobody should have to feel unsafe or hide who they are just to go to work.

Legal restrictions affect places like college campuses. Public universities often rely heavily on state government funding, which puts them in a tricky spot when state rules clash with supporting student diversity.

“It’s a fine line for them to walk,” Arendt said. “Institutions need funding to operate, educate and provide safe spaces for students. It puts these places in an unfair position when they have to navigate state politics just to keep their funding and stay open.”

Arendt suggested that anyone who feels hesitant or skeptical about drag should try seeing a show in person before making up your mind.

“First of all, come to a show,” Arendt said. “You’ll see that it’s innocent, it’s literally somebody in costume on stage being a character. Just sit there, watch and see that there’s nothing to be scared of. Open your mind to the experience.”

At the end of the day, Arendt’s perspective comes down to creative freedom and personal choice.