Glamorous vogue ball at the Gay and Lesbian Mardi Gras can’t be divorced from its political context
In the foyer of Redfern arts centre Carriageworks, it was difficult to tell who was a patron and who was a performer at Australia’s biggest vogue ball, Sissy Ball. Despite the bleak, rainy weather, sartorial maximalism was on full display: there were seas of candy-coloured wigs, towering, thigh-high patent-leather boots, and fishnets from neck down. It was hard to find someone not coated with feathers or sequins or draped in fur.
Sissy Ball, now in its second year as part of the Sydney Gay and Lesbian Mardi Gras and a coproduction with Red Bull Music, is inspired by the New York Ballroom scene, pioneered by the trans and gay black and Latinx community in Harlem in the 1920s. The scene was the birthplace of vogueing, a dance characterised by its sharp, bold movements, heightened theatricality and emphasis on posing.
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