Karma Kameleon shares lessons from the era of digital drag

Hamilton-based drag queen reveals the impact of the pandemic on drag shows and how she has kept her artistry alive

When the series of lockdowns began in Ontario last fall and all public gatherings were put on halt, live performers, including drag queens, were faced with the challenge of keeping the art and community alive from home. However, despite months of stay-at-home orders and cancelled shows, drag queens of Hamilton have proven their resilience and unfaltering devotion to their craft by employing creative digital ways of connecting with their audience. 

Like many of us, Karma Kameleon, a Hamilton-based drag queen, didn’t initially know what to do with all the extra time or how to stay connected with her community. Kameleon started performing three years ago and was about to launch her full-time career in drag when the COVID-19 pandemic hit hard in March of last year, cancelling her shows in 10 cities across Ontario. It was devastating to have her long-awaited goal interrupted so suddenly without warning.

To cope with the loss of a physical stage, Kameleon and other drag queens turned to digital content creation. At first, most people remained hopeful that this would be a short-term solution and that live, in-person shows would be back on soon. However, as time went on and reliance on digital platforms became heavier and more important, more queens got creative with their online performances and experimented with various platforms, starting with livestreams. 

One of the most memorable livestreams Kameleon did was for St. Patrick’s Day because everyone was still inexperienced in the digital drag era. It was filmed from her decorated basement and although she described it as a “disaster”, it was supported by a great audience. Besides the learning curve of online content creation, Kameleon said the biggest obstacle has been copyright infringements. As livestreams became more popular among drag queens, copyrights forced their videos to get taken down or blocked, pressuring them to get even more innovative with the types of content and move onto other digital outlets such as music videos, Instagram and TikTok.

Kameleon also took on a challenge to improve her makeup and sewing skills during the months in lockdown. She was more known for her comedy and stage performances than her looks. Having extra time for personal skill growth made her more proud, more confident and happier with her artistry.

Despite building a successful online presence during the pandemic and maintaining the art of drag digitally, Kameleon said ultimately, nothing could compensate for the lost experiences of in-house shows.  

Kameleon desperately missed the experiences of being swept up by the atmosphere of a crowd, fighting with seven other drag queens for a mirror and being able to develop a higher level of human connection through real, in-person interactions. Every moment of normalcy she got back during the gaps between lockdowns made her realize how much she missed every aspect of performing live and a greater appreciation for the community of continuous supporters. When Ontario announced its reopening plans, she was beyond grateful to have in-person shows started up again. 

Her favourite part about live performances is when only one or two people are paying attention to her song in the beginning but by the end, watching more and more people begin to put down their phones and get captivated by her eccentric performance. That’s the kind of human connection that she longed for the most.

Kemeleon’s first return to live shows was on June 18 at Absinthe Hamilton with the House of Adam and Steve. Her biggest worry during the pandemic was whether she would still have an audience when she could have live shows again. 

But to her surprise, the response was overwhelming. The patio reached full capacity and a long line up crowded the streets. 

“[During the pandemic], you could have an audience, but you couldn’t necessarily charge a price for there to be audience . . . But as we’ve kind of moved forward, I’m trying this brand-new thing of actually charging for my shows and I was terrified no one would show up. But the response has been phenomenal,” Kameleon said. 

Especially in a city like Hamilton without an established queer scene or a dedicated queer space, the resilience of the arts in the city was heartwarming to observe. 

Kameleon also missed working with other queens during the months spent doing at-home online shows. The sisterhood of being in a community of individuals with similar struggles, experiences and backstories is an important source of support for any drag queen.

As Ontario enters the next stage in the reopening plan, Kameleon is most excited to showcase her growth as an entertainer over the past year. She also hopes to help reshape the drag scene to ensure artists are treated with respect and compensated fairly for the work that they do. 

“[As we are] talking to the people who are part of the [drag] scene in every city, there is this understanding of, ‘Now that we know what it’s like not to have it and now that we know what we miss about it, we also kind of know what we deserve,’” Kameleon said.

More importantly, she is looking forward to more diversity in the drag community and the reopening of the world through the lens of everything that has happened last year, especially regarding the Black Lives Matter movement, Stop Asian Hate movement and the treatment of Indigenous peoples in Canada. She hopes to see the world and the drag community in Hamilton move forward with a more open and inclusive mindset and more credit given to people of colour in the drag scene. 

If you love drag or appreciation for any of the arts, Kameleon encourages the local community to provide any form of support. Even if you can’t financially support an artist, every like, comment, or reshare is a form of support that can help boost their online platform and help their art feel more validated after a difficult past year.