Common Topic

Drag Culture - Na Trak Kultur

Keywords: society, culture, lunys, LGBTQ+

June is traditionally Pride month and remains the time of the festival of naz Lun, the lineal descendant of Pride, in the New World Order. This is a time of year when I get a lot more questions about what has become of the LGBTQ community in the New World Order. I go into more detail about that in the article attached below. Today I want to address the question of what has become of the art of drag in the Order. 

The short answer is that it has continued to grow and thrive, still centred around gay male entertainers adopting a grandiose feminine aesthetic in their performances but still maintaining its highly eclectic and inclusive traditions that can make it quite hard to pin down. If anything, it has fared better under the Order than in Britain, where it survived a period of conservative backlash and repression. Within the Order, the government has protected the LGBTQ community fairly consistently, and drag has consistently remained a vibrant and popular art form. Drag performers are particularly busy and in demand during naz Lun, where they are used to being the centre of attention.

Given the importance of American culture in the twentieth and early twenty-first century global Queer liberation movements, it is perhaps no surprise that the core terminology in Common around drag comes from American English. However, a phonological coincidence has led to a surprising development in the iconography of drag. 

Common borrowed 'drag queen' from English in a number of different forms, from literally just 'na drag queen' to a hybrid Commonisation like 'na trak quin' to forms like 'na trak kuín' or 'na trakkuin'. The 'trak' part became analysed as a modifier, so describing something as 'trak' came to mean having a drag aesthetic, i.e., powerful, flamboyant, outgoing, often humorous, and revelling in an exaggerated femininity.

A later development, which appears to have originated in Southeast Asia but which quickly spread globally due to the influence of wildly popular drag performers from this area, was to start referring to the art of drag as 'na trakyn' but also to refer to a drag performer as 'ny trakyn', shortening it down and dropping the 'kuín'.

The word 'kuín' has remained a form of address that drag queens use for one another, sometimes serving like an honorific head term. However, in the Common language as a whole, 'ny kuín' itself has undergone pejoration and today means 'prostitute' in regular speech, referring to a sex worker of any gender. As bad as that may seem, this usage may actually have its origins in drag insult comedy, and also, sex work is less stigmatised in the Order than in Britain.

The twist is this: As drag culture continued to evolve under the rule of the Order, the Order pursued its love affair with icons of pre-Collapse commercialised global culture, which was often American culture, and one thing it picked up was that culture's idea of a dragon, still the mystical, fire-breathing flying reptile often but not always associated with danger and menace that we are still familiar with today. The word for this mythical creature entered Common and settled as 'na trakyn'.

During the early modern period, again in Southeast Asia, which appears to have been the global leader in late twenty-first century global drag culture, the homophony started to lead to a certain conflation of the two concepts, likely consciously and playfully at first, but over time, Global society seems to have lost the historical thread a bit. It has become common for dragons to be portrayed with a certain fierce drag sensibility, and for dragon iconography to be somewhat of a drag cliche. There was even a very popular late 21st century screenshow, 'Nar Trakyn', about superhero drag queens who could magically transform into colourful dragons, that helped cement this impression in the popular imagination.

Modern drag in the New World Order is a rich subculture and a vibrant and wildly popular art form, both within and outside the LGBTQ community. That is not to say that both it and the community it is intimately associated with have not faced challenges. Non-Globalist governments have often harshly repressed the community, until the rise and domination of the Order largely made that a thing of the past, and LGBTQ people, especially very visible members of the community, continue to be the targets of violence by trol groups and believers in trol ideologies, especially but certainly not limited to religious ideologies. Drag and the LGBTQ community in general continue to face condemnation and discrimination in many traditional ethnic communities. For this reason, rightly or wrongly, I have noticed the Order tends to enjoy a high degree of genuine support amongst individuals with LGBTQ identities. To give the Devil his due, though, the Order deserves credit for this rare bright spot on its human rights record and for helping drag to enter the twenty-second century stronger than ever.


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