“We love y’all watching Pose and Legendary, but we also want y’all to come outside and support!” proclaimed Stephanie “Packrat” Whitfield, one of the executive producers of Sunday night’s powerful Equality Ball (Aug. 27).
The urgency of her words was the guiding principle of the night, as some of the most iconic names in ballroom convened for an unforgettable night — one that paid tribute to the progress of LGBTQIA+ rights and highlighted the many avenues through which people continue to push for queer liberation across American politics. Hosted by the Human Rights Campaign Foundation, the educational arm of the nation’s largest LGBTQIA+ civil rights organization, in association with Beeline Productions and the Shady Gang, with support from BeyGOOD Foundation, the Equality Ball brought authentic ballroom culture to KAOS Nightclub in Las Vegas, Nevada.
With Carlos Irizarry of the House of Basquiat, one of the choreographers and dancers on Beyoncé’s record-breaking Renaissance World Tour, as one of the figures spearheading this event, which was seven years in the making, Queen Bey’s influence loomed large over the night. For the night’s final category, the aptly titled “OTA Performance — Bring It Like Beyoncé,” participants recreated some of the singer’s instantly iconic tour ensembles and crafted custom pieces inspired by Renaissance tracks. From the “Cozy” robot arms to several renditions of her sparkly gold Loewe bodysuit, Beyoncé was omnipresent. Not to mention, several key Renaissance Tour figures were in attendance, including Honey Balenciaga, Les Twins, and some of the tour’s film crew.
Nevertheless, the Equality Ball was never dominated by Queen Bey. In fact, the ball was arguably a pitch-perfect example of how allies can assist marginalized groups in achieving their visions, while still allowing them to take center stage. From Kevin Jz Prodigy and Shannon Balenciaga to Dashaun Wesley and Precious Basquiat, the Equality Ball was spearheaded by pillars of the culture, people who live and breathe the freedom, catharsis, and resistance of ballroom.
In the wake of the harrowing, unjust murder of O’Shae Sibley, the Equality Ball stood not only as a celebration of the vitality of LGBTQIA+ life and culture, but also as a staunch reminder that this community will not be silenced or erased. “Ballroom culture is synonymous with the Black queer community — it creates a safe space for LGBTQ+ people at a time when being your authentic self was dangerous. But, let’s not get confused, it’s still dangerous for us — Black and Brown trans women are facing an epidemic of fatal violence,” says Human Rights Campaign President, Kelley Robinson. “The Equality Ball serves as another space for those who feel overlooked to take center stage and let the
world know that — as Beyoncé sings — you won’t break our souls.”
The Human Rights Campaign offered countless educational resources at the Equality Ball, including HIV testing, voter registration, and direct access to information about local LGBTQ+ programs and initiatives.
Here are the five best moments from the Equality Ball on Sunday:
Prior to the proper opening of the ball, Maxine Jones of En Vogue treated audiences to a pair of stunning performances. Flanked by two male dancers, she tore through a rousing rendition of her group’s 1992 Billboard Hot 100 top ten hit “Free Your Mind” (No. 8). For her cover of The Trammps’ 1976 hit “Disco Inferno,” Jones opted to add two more dancers and don a light-up cape that contained all the colors of the Pride flag.
One of the most heart-warming moments of the night came at the very beginning of the hours-long program. Before the official opening of the ball, the Kiki Hosue of FuBu made their way to the stage to host an audience-interactive voguing lesson led by Whitfield. Members of the house sauntered into the crowd to pick out several onlookers, who then became participants in a real-time voguing lesson focusing on catwalks. Although Packrat had to significantly slow down the tempo to accommodate the new voguers, it was a moment of pure, unadulterated levity that helped immediately foster a sense of community and fearlessness amongst the attendees.
At the opening of the Equality Ball, the newly formed Kiki House of FuBu made its official ballroom debut as each member showcased a different ballroom category, ranging from realness to old way. Kiki houses are specifically made for LGBTQIA+ youth as a more economically accessible version of ballroom. Overall House Mother Stephanie “Packrat” Whitfield and Overall House Father Carlos Irizarry proudly introduced their children as the kiki house electrified the venue with their fervent energy and sharp performances.
A drag cabaret dating back to 1946, Madame Arthur delivered an emotional performance steeped in the multilayered history of ballroom and queer culture at Sunday night’s Equality Ball. Performing a somberly rewritten cover of ABBA’s “Dancing Queen,” the performers took some time to lift up and reflect on the lives that have been senselessly lost to anti-LGBTQIA+ violence. The entire venue was enraptured by both the stunning vocal performance and the poignance of the new lyrics. By the time their rousing applause began, there was a nary a dry eye in the room.
At the very end of the night, near 4:30 a.m. PT, Makaylah Basquiat won the final category of the night — OTA (Open to All) Performance: Bring It Like Beyoncé. Sporting a nearly identical remake of Beyoncé’s Dolce & Gabanna “American Has a Problem” Renaissance Tour costume, Makaylah span and dipped her way to the $11,000 overall grand prize. She whirled around like a tornado as she devoured every last competitor, much to the audience’s delight. Makaylah’s performance was not just top-notch entertainment, it was also a true marvel of athleticism.
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