"Jennie Livingston's 1990 documentary film Paris is Burning a handful of times and yet I can still vividly recall feeling incredibly envious and in awe of Pepper LaBeija's conviction and poise as she approaches the doors of the Imperial Elks Lodge. LaBeija, who served as the mother or head of the legendary House of LaBeija for over thirty years, is adorned in a gold taffeta gown with oversized sequin puff sleeves, black accents, and an exaggerated bubble hem"
"The audience, already engrossed by LaBeija's performance, erupts as she carefully removes one of the puff sleeves and continues to strut to the beat of the music. The audience's hooting, hollering, and gestating is reminiscent of the black church congregation. Instead of shouting refrains like You better preach! or Talk to em, pastor! the ball attendees yell You better work! or Alright, Ms. Pepper! or Yaassss!"
Ballroom culture emerged as a response to racist ostracization and provided a refuge where Black and queer participants could create alternative spaces of celebration. Houses formed as chosen families, with leaders like Pepper LaBeija guiding members through performance, style, and competition. Balls featured categories that foregrounded fashion, movement, and identity, with trophies and cash prizes as recognition. Audiences offered vocal affirmation that resembled the communal energy of Black church congregations, turning events into sacred spaces of collective support. Spectatorship can feel both privileged and intrusive given the culture's roots in protection and intentional privacy.
Read at blog.apaonline.org
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