Modern drag has advanced little since the start of this century (if at all). Much of it is lingering in the style of the 1980s, desperately trying to appear relevant and significant in today’s world, and failing, due to drag’s outdated gay stereotypes. However, it is far advanced from the drag and female impersonations of a hundred years ago.
If we go back further to look at what influenced modern drag we find the British pantomime dame and, even earlier, the character of the Italian commedia dell’arte. And even further back than that, we have comic female characters played by men in medieval mystery plays based on stories in the Bible.
It has to be admitted that these very early drag-like performances were purely for entertainment purposes and no gender identity was assigned to the performer. It is well-known that at one time women were not allowed, or discouraged, to be actors. That meant that any female character, including the Virgin Mary in Christmas nativity plays, were played by men or boys.
One development of the medieval mystery play is one I wrote about in 2019, the French Société Mattachine. In that article I explained how the early gay rights organisation in the USA, the Mattachine Society, was named after these medieval performers.
The Mattachines were not confined to France. The name seems to derive from the Italian “mattaccino”, which comes from “matto” meaning “mad”. From this we understand how the comic characters found in various mattachine groups throughout medieval Europe act in over-the-top performances, as if mad.
If we skip across to Spain we find the matachines who were popular in the 17th century, quite some time after other European variations had begun to die away. Because of this, the Spanish matachines is the form which has survived today – but not in Spain.
The Spanish matachines had developed into a more musical and dance form rather than drama. It still had the stock characters familiar in all its forms in Europe – a hero, a young woman, an old man, a villain, and more pertinent for our purposes today, an old woman played in drag. A particularly Spanish addition to the cast was a bull.
But what have the matachines got to do with Christmas? Bear with me while I digress. We have to look at how the matachines dances evolved after the Spanish colonised Central America. There’s a debate which is pertinent to the matachines, and Christmas in general. It concerns what I believe is a common misconception constantly repeated at this time of year that Christmas traditions are actually pagan. No matter how much research in many academic papers and books I can find no actual proof of this, only a lot of unsupported opinion based on coincidence from the 18th century onwards (not to mention modern crap about Santa and Coca Cola). Thankfully, an increasing number of qualified historians have debunked many of these pagan lies. Just because two things sound or behave the same it doesn’t prove they’re connected.
Usually, the Christian Church is presented as adopting pagan practices to encourage indigenous communities to convert to Christianity. I believe the opposite. I’m not alone in this. This 2021 article on the history of matachines in Mexico from the Universad Nacional Autómona de México comes to the same conclusion. It is becoming clear through modern research that it was newly converted indigenous communities who looked at what Christian practices were similar to their own and then adapted them without losing their own cultural identity. The Christian Church authorities, in their turn, saw no reason to object and, as long as Christian doctrine was followed, accepted the new ethnic take on their practices (except a handful of puritan extremists, like those today who want to ban “Harry Potter” because it “promotes witchcraft”).
The Spanish Conquistadors spread their matachine dances across Central America. In Mexico the Aztecs in particular merged it with their own dance rituals and produced a variation which they still use today, a variation that actually includes a king character based on Moctezuma (Montezuma). This is performed on special occasions, though not often at Christmas as with their US Pueblo counterparts. It also has a slightly different name – matlachine.
The two female characters of the Pueblo matachine are called Malinche and Perejundia (or Abuela). The Perejundia is always played by a man in drag, and the Malinche is now usually played by a girl. They represent opposites. Malinche is a beautiful, young, innocent girl, while Perejundia is an ugly, bawdy and coarse old woman. The video above shows one of the few clear visual representations on YouTube of the bawdy Perejundia.
Usually, matachine dances are performed during Advent, most often on December 12th, the Feast of the Immaculate Conception celebrating the conception of the Virgin Mary (often referred to as Our Lady of Guadelupe). This is also the date which is generally considered as the start of Christmas in the Pueblo communities. In fact, several matachine performances have taken place this week. Because the celebration is religious and often performed inside churches, the Perejundia character is sometimes omitted. The video below is the matachine from two days ago in Laredo, Texas. You can see the Malinche played by a very young girl, and the old man character, but no Perejundia.
Prof. Brenda Romero of the University of Colorado, an expert on hispano-indigenous music, has noted that matachines among Pueblo communities have become quite inclusive. She says that gay men (and women, as can be seen in the video below) are actively involved. I may be assuming too much, and this is only my theory, but are some Pueblo gay men specifically drawn to playing the Perjundia in the same way that some gay men in the USA become drag performers? I have absolutely no evidence or proof of this, but it’s an interesting thought.
Whatever the gender identity of the person playing the Perejundia in the Christmas matachines, it is clear that there is a direct line of descent from medieval mystery plays to the commedia dell’arte, the Perejundia, the British pantomime dame and modern drag queens.
Next week we look at a Hellenic Christmas gift-giver and his association with a reluctant priest.
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