Episode 77 – Ballroom! (The Motha’ Kiki Ball)

Gabrielle Martin: Hello and welcome to Push Play, a Push Festival podcast featuring conversations with artists who are pushing boundaries and playing with form. I’m Gabrielle Martin, Push’s artistic director, and today we’re stepping off the stage and onto the runway. In the world of ballroom, a ball isn’t just a party, it’s a sanctuary, a political statement, and a high-stakes competition of style and spirit.

While the culture famously ignited in the underground Black and Latinx queer scenes of 1960s New York, today it is a global movement that’s found a powerful, unapologetic home here on MSD territories, Vancouver. The Motha’ Kiki Ball is being presented with Van Vogue Jam as part of the Push Festival, February 7th, 2026.

It’s a Black History Month spectacular that crowns motherhood as the origin of all creativity. Leading the vision is Blackout Collective, a grassroots group founded just in 2024, and this group ensures that Black folk, Black queer folk, have a leading role in the local scene. So today I’m joined by the creatives making it happen, Blackout co-founders Mother Bee vasalia and Savannah Sutherland, and collective members Gvasalia, or Legs007, and Menace Vassalia.

We’re diving into the origin story, the mother theme, the legendary judges flying in for the event, and the categories from hair affair to bizarre. Here is my conversation with Mother Bee vasalia, Savannah Sutherland, Gvasalia, Legs007, and Menace Vassalia.

I just wanna start, uh, though, by acknowledging that, um, we at Mother Bee ee , Gvasalia, and Menace Vassalia are, um, joining this conversation or having this conversation on the unceded traditional and ancestral territories of the Musqueam, Squamish, and Tsleil-Waututh nations. And as we’re gonna be discussing the Mother Kiki Ball, an event that centers motherhood as our origin story and celebrates the families we choose, um, we recognize the origin- the original mothers of this territory, so the matriarchs of the Coast Salish peoples who have nurtured this land and these waters for generations and who continue to fight for their kin and their culture.

Um, Savannah, you’re not on these MST territories. Where are you? 

Savannah: Um, so I’m calling in from the city of Ga, also known as Accra in Ghana. 

Gabrielle Martin: Mother Bee and, uh, Savannah, so you were involved in the co-founding of Blackout Collective with a group of about five, uh, uh, to six people in 2024. So this is a grassroots organization with the goal of making ballroom accessible to Black folks and youth in the Metro Vancouver area.

So what was that specific moment or gap in the city, in the, in the moment that compelled you to say, “We need to build this right now”? 

Savannah: Uh, so for me, when I got involved with VanVogue Jam, that was kind of one of the first conversations that we had, um, that myself, Mother Posh, and Abota were having were around, like, the fact that ballroom was founded primarily by Black and Latinx people.

Um, and although Black folks in Vancouver are a very small community, there was kind of an underrepresentation of Black folks in the scene. Um, and through kind of those conversations, VanVogue Jam was able to support a series of, like, meetings, uh, with, like, other Black folks in the scene just to kind of see, like, like, what are the challenges we’re facing, what are the things that we need, um, and how that VVJ as an organization can be supportive of that.

Mother Bee: Um, to add to that, for me, I think that when I first entered the scene, um, being in Vancouver, first of all, um, there, there aren’t as many Black folk as some of the other places I’ve lived. Um, so coming from Toronto, um, and Montreal, that was a little bit of a, um, culture shock. And coming into ballroom, um, which is a scene that is rooted in Blackness and Black queer culture, for me, it was really important that if I was gonna be a part of the, of this scene and community, that I wanted to be able to, um, make it more accessible for other Black folk who were looking for community or to express themselves in the way that ballroom allows us to.

Thankfully, I was, um, included in some of the conversations that VVJ had, and Blackout was born out of that, really serving as an entry point for Black folks who are interested, curious, or just need a little space to practice while connecting with other Black folk, um, within the scene. It can be intimidating coming into some of these spaces that, um, don’t reflect us, and so, um, for me, I think it’s really important to be able to have those safe spaces where Black folk can come in knowing that they will be met by faces that look like them.

Gabrielle Martin: And it seems like the, the moment, the collaborations were right because it’s, that’s like a year ago, or just over- Mm-hmm … and it seems like it’s really got a lot of, like, momentum behind it. Um, I wanna just hear a little bit from Mihoame and Menace vasalia. So how did you find your way into ballroom and BlackOut?

And, and also I wanna hear, like, for this upcoming ball, is there a particular category that you’re most excited to see on the runway? 

Gvasalia: Um, for me, I found my way to, into ballroom through the community first. I first started going to balls and really seeing what it was like, and then I started going for the Tuesday practices.

And I was really drawn to, you know, the creativity and the discipline and the way I saw that ballroom holds both performance and the sense of care at the same time. And, you know, attending BlackOut practices as well felt like a space where I saw other people that, other Black people as well, and were able to just exist in that space.

And it made it seem a lot less intimidating. So yeah, I’ve, since then I chose a name. My la- name in ballroom is Legs, Legs007, and I’ve just seen myself grow so much since when I started, um, coming to ballroom versus now, which is, like, a year in. And, um, for this upcoming ball, I’m really excited about the runway category.

I really wanna see how people, um, interpret the theme, ’cause the theme is, um, Naomi Campbell. So I’m interested in seeing how the male figures especially interpret the theme. So yeah, um, runway is really a space where you see confidence and control and individuality come together, so yeah, I’m really excited about that.

Menace: I think similarly for me, um, I think with a lot of youth, especially nowadays, um, with interacting with, like, queer media, you get the references of ballroom, whether it’s, like, through Drag Race or through movies like Po- or like s- TV series like Pose or whatever. Um, so I did my own research, and then I found out that Vancouver has its own local, uh, ballroom, like, organization going on.

So I started coming to classes back in, uh, September of 2023, and I’ve just been here ever since. Um, and I think, yeah, through coming to classes and talking to people, I connected with other Black folk, um, which especially at that time it was very few and in between. Um, and then, yeah, I, I met Mother Bee ee , I met Savannah, um, and then from there conversation started happening about, you know, how can we continue to support Black folk in the scene, and then BlackOut kinda came up through that.

So I’ve been attending BlackOut, and then through there, you know, more, more things started to transpire, and then here we are at the ball. So I’ve decided to volunteer to help out, and very excited. Um, I think I’m a- also biased as with Legs because I’m also, like, a runway diva. Um, I’m definitely excited to see Ote runway.

But I think also most people know ballroom through vogue, so I’m also very excited to see Ote performance. 

Gabrielle Martin: Mm-hmm And OTA, open to all levels. 

Menace: Yeah. 

Gabrielle Martin: Yeah. And are… So actually, I don’t know, how many of you are walking or competing at this upcoming Mother Bee ee all? 

Mother Bee: So none of us will be walking- Okay … because we’re producing the ball.

Okay. Um, but I know, I mean, sort of like piggybacking off of what Ahome and Menace have said, um, like me, on the run when I get into drags, is, like, very inspired by Naomi. And so as much as I love and I’m excited about, um, this category, I’m also very sad and disappointed that I can’t walk it, ’cause there’s so many things I wanna do.

But very excited to see how everyone interprets it. 

Gabrielle Martin: Yeah. But you’ll be there s- making it happen from behind the scenes, but yes, let it… Yeah. Mm. Mm-hmm. The trade-off. Savannah, do you have a, a category that you’re most excited to see? 

Savannah: Um, I would say for this, generally one of my favorite categories is actually face.

Um, I love being in the fantasy of face, but I think for this ball in particular, I’m really excited for hair affair. It’s something we’ve only done once prior, but I think because, like- It’s like a category for Black people, you know? So I’m really excited to see what people are able to, like, make happen.

And it’s also just a fun category as well, so, like, yeah, I have no idea what’s gonna happen, but I’m looking forward to it. 

Gabrielle Martin: Uh, I love that feeling when you’re producing, like, m- creating the conditions for the unknown to happen, you know, when there’s- Mm-hmm … this element of improvisation and, like, that’s a really exciting part of producing.

Um, we’re gonna talk more about some of the categories later, but I do wanna talk a bit more about the mother’s theme, matriarchy, legacy. So this inaugural Black History Month Ball, um, is titled The Mother Kiki Ball, and highlighting motherhood as the origin story of ballroom. And we see that deep intentionality in the OTA Face and Hands Performance categories this year, where walkers, you know, you’ve invited them to bring a printed reference of their biological or chosen mother, uh, and, or tell a story with their hands using mother’s pearls.

Um, so in a culture that the outside world often sees as battle or competition, how does the Mother Kiki Ball balance that competitive fire with the fierce tenderness of honoring your roots and your matriarchs? 

Mother Bee: I would say it’s, ballroom has always been two-sided. Um, on one hand you have, um, the aspect of competition, like ballroom was rooted in pageantry and competition, and you build your legacy off of, um, your wins, how you present yourself on the floor, and how you carry yourself.

Um, but it’s also rooted in community. Um, it was birthed from mothers. Um, mothers really mothered the scene, um, their homes and houses, which is why we have all these houses, um, that are rooted in the legacy of those who came before us. Even thinking about, um, the categories, you have, uh, highlighted some of the ones that we have, face, um, hands performance, um, and especially, um, OTA performance, where we’re really paying homage to the femme queens who paved the way for us.

Um, performance wasn’t necessarily, like, the category that started off, um, the ballroom craze, but definitely it is one of the more popular categories right now. And what really revolutionized this was the, like, the femme queens who really made their mark and carved out a lane for themselves in vogue femme.

Um, like, butch queen voguing like a femme queen is butch queen voguing like a femme queen for a reason. Um, and so it’s really exciting to be able to Play into this balancing act of competition as well as, um, community. And so as much as we can be super fierce and competitive on the floor, there’s also that aftercare between the families and community, and I think that that’s something that’s really important, um, to be able to see.

Um, Ahome actually, um, suggested the theme initially of mother, so I definitely wanna hear from you. 

Gvasalia: Um, so yeah, similar to what our Mother Bee ee  said, it’s really about remembering where ballroom came from, and it did come from a need. You know, it started when people were rejected from popular society. Some people were kicked out of their own homes, and so they had to find that sense of community with each other.

And a lot of the elder queer people at that time acted as parents for the younger people who needed some sort of guidance. And when you really think about it, it’s really beautiful because they gave these young queer people tools of survival, which they turned into something so beautiful, which is what we know as ballroom today.

So just remembering where it came from helps, at least for me, it helps me remember that this is a balance, and ultimately it’s not just about competition. Yes, the competition forces you to be in the spotlight, and in that sense, it’s really about reclaiming yourself, embodying your full entire being while being on the floor.

And when you remember that, yes, the battle is important, but there’s also a sense of care underneath, no matter how fierce it may seem. And the Mother Kiki Ball really exists because it’s really about acknowledging everything that we do in ballroom comes from that lineage of people who had to find care for themselves.

So whether it’s your biological family or if it’s your chosen family, it’s just about remembering that, yes, we are here today because of all those people who made all those sacrifices and decided that they were not going to just be shunned, but they were going to take up space, the space that they deserve.

So by asking people to bring, you know, images of their mothers or tell stories, um, through their hands, we’re reminding them that beyond this performance and this, you know, this glamour, there’s also a sense of guidance and love. And yes, the competition is there, but there’s still tenderness at the center.

And you’re working to win ultimately, but you’re also working with the people or in enable people that made it possible for you to be where you are on the floor today. 

Savannah: Yeah. 

Gabrielle Martin: I got chills actually as you were saying that. Yeah. Um, the obviously, like, the intention behind this is so authentic. And I think also it’s interesting with competition too, because, you know, there’s, uh, this idea of, or, you know, performers being in, soloing in the spotlight, this idea that it’s really ego-driven, and it can be that, but it can also be about owning your power and also that can have an incredibly uplifting impact on your community, you know, especially if it’s a community that’s been, uh, experienced systemic injustice.

But yeah. Thanks. Yeah. Thanks so much for that. 

Mother Bee: I think to add on that, um, in terms of like the idea of chosen families, it’s so interesting the way that like chosen families show up in ballroom, um, especially in the, in a space of competition where like you’re choosing to be here. Um, like for myself, I’m Mother of the House of Visalia, but I’m not, I’m not Mother without the house choosing me.

Um, and so really being able to see that reflected in like years, decades, and generations, um, of knowledge, movement, et cetera, passed down, um, is really beautiful to be able to pay homage to. Like whether it’s in ballroom or in your own personal life, um, ’cause we know that like within queer spaces and for queer individuals, um, family can be wrought, um Not everyone has the same relationships with their biological family, so being able to be in a space where you’re choosing each other is so important, and that really shows through beyond the competition.

Like, I’ll hate you on the floor, but, you know, once we leave, uh, we’re best judies. 

Gabrielle Martin: I want to talk about the judges a bit. So, um, from the little bit of research I was able to do, uh, I understand that you have some absolute heavyweights on the panel for this ball, including the iconic founding mother, Twiggy Pucci Garçon, uh, international mother of Comme des Garçons, and, um, and the New York mother, Omi Unbothered Cartier.

So what does it mean to have these specific legends in Vancouver, and what are they looking for when they tell a walker to give them their flowers? 

Savannah: I think when it comes to judges, one of the beauties of ballroom for me is that things are very subjective ultimately. Like, um, as a walker, you can interpret something however you want, and as long as enough of the judges connect with that, like, that can be correct.

There is necessarily no right or wrong. So I can’t speak to necessarily what the icon and Omi and other judges will choose to do. Um, we just select them because we know that they come with a wealth of experience and that they’re going to make judgments based on, on what they know and not based on just, like, random other kind of petty things.

Um, yeah, you know, like, fairness is important. Um, I think what it means to have them, I think, like, we spent so much time talking about the theme of mothers and motherhood and what a mother is, and I think mother as a title is all-encompassing. It can be reductive at times, but it also, like, mothers are, are so many things.

Like, being a mother means, you know, being an accountant, being a bookkeeper, being a project manager. It means being a landscaper. Like, it c- it means being an artist. It means being a soldier. Like, everything can fall within the roles of what it means to be a mother, and I think the two judges you highlighted really exemplify that.

Like, Omi is, like, very successful in ballroom and also outside of ballroom currently is starring in the new Broadway revival of Cats. Like, that’s major. Um, icon Twiggy is not only an icon in Kiki and mainstream ballroom, um, but also is, like, a healer, um, a film director, a producer. They’ve worked in policy, for example.

Like, they, like, ballroom is, they’ve done so much in ballroom and so much outside of ballroom that I think it really also helps to exemplify and also honor the fact that our, the people who are our mothers in our lives are, are so much more than just what the title mother may be able to encompass. 

Mother Bee: To add to that, for me personally, um, having icon Twiggy here is mind-blowing, because I remember the first time I saw Kiki, which is a documentary that he, um, produced.

That really, like, woke something up in me, um, that I feel like I’m only just recently starting to, like, bear the fruits of. Um- The way that that documentary showcased what ballroom is and the Kiki scene especially to me, um, really shaped and framed the way that I see ballroom as an opportunity for a lot of queer folk and speci- specifically Black queer folk.

I mean, like, I think I’d seen, um, Paris is Burning ages before, but it being a documentary from well before my time, like, I was like, “Oh, that was cute for then,” and like, “I don’t know that that’s still going on.” And so that really brought that to a space that was really accessible for me, um, which is very relatable to what we try to do at Blackout and with our open sessions and this ball.

So very excited and also Twiggy is an icon for runway, which is one of my main categories, so they’re definitely someone that I look up to. Um, in my early days, I was studying their clips to the T, so very excited to have them here. And then as a new mother, I’ve only been mother for about six months, princess before that, and so for me, seeing the way that Omi emerged and grew into her motherhood really inspires me.

Um, like she’s fab outside of ballroom, she’s fab in ballroom, but to me, what really makes Omi special is the way that she’s able to pour into not just her house kids, but also her scene and community. And I would say that Omi’s someone that I aspire to be like in terms of my motherhood. 

Gabrielle Martin: Sounds like it’s an amazing li- lineup, like clearly between the combination of the curation of the judges and the way that you’re reimagining the, the categories, like, or, you know, the effects and the, um, the prompts, the invitations that you’re offering to people who are participating to really like realize the, the, the concept of the, of the balls.

Yeah. I’m getting more and more excited for February 7th. Um, so I wanna talk more about categories actually. So there’s these core categories like performance and runway that serve as the DNA of the culture worldwide, and then for this ball, the prompts are very vivid. So you’ve mentioned Hair Affair, which is dedicated as a space for Black folk to celebrate their hair as a crown jewel, uh, to Bazaar, where the theme for this, um, ball is Mother, Mother Nature’s Wrath Against Corporate Greed.

I love that. Um, so how do these specific prompts and effects allow walkers to move beyond just looking good and actually tell this larger story? 

Menace: I think for this ball, um, it tells really two larger stories. I think the first one, uh, in terms of the context of ballroom, it kind of allows the audience to gain some insight into the story of the walker/competitor.

Um, just because, you know, when somebody walks a category, like we wanna know like- Who are they? Like, what’s their POV? Um, like, what do they specifically bring to this category? So I think within the ballroom context, like, we, we learn of their story, but also I think, um, as well uniquely for this ball, we also learn about, like, the stories of, like, the contributions of Black people to the world.

Um, I think especially you’ve mentioned, like, with Hair Affair and with Bazaar, also, like, with the other categories as well, we try to make mention to the contributions of Black people across all different spaces. Um, so we talk about with music, we make references like Mariah Carey, Beyoncé, Rihanna. Uh, with- within film, we talk about, like, the, the film Mahogany, which, you know, highlights the great Diana Ross, and, you know, her fashion sense.

And, you know, we can’t talk about fashion without talking about the queen of the runway, Naomi Campbell, and there’s just so many contributions, um, that Black people have made to, like, all sectors of the world. So I think within this ball, the Mother Bee ee all, you know, we wanna highlight the mothers of the, of the world, and, you know, the mothers of ballroom as well with the, the femme queens.

So I think it, it tells so many different stories, but I think those are the two larger ones. 

Gvasalia: Yeah, so talking about the, um, prompts, for the audience and for the walkers, the prompts gives people the permission to really understand structure of what the, um, the judges and the organizers are looking for, and it gives the walkers a sense of permission to go deeper than just aesthetics.

So looking good is always a part of ballroom. It’s almost like the bare minimum to look good before you walk or when you’re walking. But having these effects ask walkers to be intentional about what they’re communicating. So with something like Hair Affair, we’re really asking people to look beyond just style and tap into a sense of identity and think about their history and pride.

And the reason why we restricted Hair Affair to just be for Black folk is because hair for Black people is something that is so controversial and has been subject to so many restrictions. So giving them this space to shine, saying, “This is just for you to take back your crown,” in a sense, and really make it as beautiful as you can, it’s, it just gives a sense of empowerment that I think a lot of people are going to appreciate.

And with Bazaar, for example- Bizarre always gets people talking because it’s the most, almost the most flamboyant category. It’s not restricted by any sense of reality. So yeah, and this space opens commentary for real world issues. And the through line here with all the categories is the categories really become a se- a space for people to tell stories and express their feelings and make meaning, not just to impress the judges or to impress the, you know, the audience members, but to bring a story that is unique to them and to visualize it in a way that only they can.

Gabrielle Martin: Yeah, I, I love learning more about the, the process of, um, structuring and creating this. It’s like you’re really intentionally creating all the conditions and creating the score, like an improvisation. I come from more of a dance background and, you know, so, um, I haven’t had the chance to sit down with you before and understand kind of the makings of this, but it’s, it’s really, it’s extremely creative and really exciting, um, to, yeah…

And I, I in some ways, I mean, it’s, it’s curation, and that’s what excites me about my role with Push. It’s that it’s, you know, like bringing together all these pieces, and some of the pieces, um, there’s a little bit less improvisation, uh, with the Push Festival, but many pieces too that are gonna premiere for the first time, and I don’t know exactly what’s gonna happen or how these pieces will exist together, but it’s, it’s so exciting, um, yeah, to, to kind of, to bring it all together like that, and especially to do it in a collaborative way.

So I wanna talk about, um, you know, the next generation, um, what’s happening here in Vancouver. So we’re seeing virgin runway and virgin performance categories that are themed around monarchs and purple, which are specifically for the little heirs who are very new to the scene, and what are the emerging trends or the specific energy that you’re seeing from the youth, um, that, that in Metro Vancouver, the youth that you’re engaging with right now?

Mother Bee: We’ve recently had an influx of new and young talent coming into the scene. Um, I feel like within our scene there are waves and, um, I don’t want to call them generations, but like cohorts of people coming in. Um, I see the kittens now and it reminds me so much of when I first started walking. The energy is just so, um, infectious and high.

Like there are times where I get so jaded and then I see the excitement in some of the newer folk in the scene and I’m just like, “Okay, this is actually kind of fun and this is actually very cute.” Um, but for me, I love their hunger. I love their drive. We have a few people who are just so fearless in, um, the way that they approach ballroom and I feel like when you’ve been in ballroom for a while, you sort of, you don’t get timid, but you are definitely aware of what you’re walking, why you’re walking, and, um, there is a sense of almost like protecting your legacy or what your resume in ballroom has been, and you’re known for a category, so you really focus on that category and focus on being the best in that category.

And I feel like with some of the newer generation that we’re seeing coming into the scene, they are really excited to try a lot of things, which is really great, and I’m loving seeing them find their paths and find out what categories really speak to them, um, and also surprise themselves with categories that they may not have mis- initially gravitated towards but are Just build for.

And so for me, it’s really seeing people start to excel in their categories. There are a few people where, like, I look at them and I’m just like, “You’re gonna be a problem,” um, in, like, not even a year. Uh, so it’s really exciting to see who is coming up and who, um, will go from someone that you’re nurturing to someone that you will be walking against.

Like, that’s exciting for me. 

Savannah: Yeah. I would agree with B. I think, like, the, the folks who’ve been coming into the scene recently are really down to just kind of throw themselves into it. Um, and it’s really exciting to see, like, like, their creativity and people kind of making it their own, like… And I think that’s also a testament to the work that’s been done over the years, both by Blackout, by the VKBA, and also by BBJ to really, like, strengthen our scene and provide opportunities for folks to come in and feel supported enough to try something new, um, and to really put themselves out there.

Um, and as B says, like, it’s really fun and it’s really exciting to see someone, and it’s like, oh, I remember when they first came to class, and it’s been six months and they’re stomping up and down the runway like they’ve been doing this for years. Um, and I think that’s ultimately, like, what makes all of this work worth it, is really seeing that growth and development, and especially, like, the confidence that people get, um, from being in balls, um, coming to balls, walking to balls, coming to classes, um, especially with, like, Black folks.

And since the creation of Blackout, we’ve seen, like, a significant increase in the amount of Black folks that are in our scene, and Black folks stepping up into, like, additional positions. Like, now we have Mother Bee ee vasalia, for example. Like, now we’re hosting our inaugural Black History Month ball. Um, and when we started Blackout, I don’t think we could have imagined that things would have picked up so quickly.

But I think it’s been, it’s been really cool, and it’s been really fun. Um, and I’m just happy that people are really… That they’re, they’re showing up, and they’re really getting stuff out of this because, uh, I know I am, at least from an organizing perspective. 

Mother Bee: And just to, like, add on to that as well, um, I don’t wanna forget saying this, but I think one of the biggest differences I’ve seen more recently versus in earlier days is that people really are doing their research and, um, like, really cooking in the lab before getting on the floor, which is really exciting to see.

I know for me, especially, um, with some of the people who come through Blackout, uh, or come to Blackout and then walk their first ball, just really seeing them take the time to not just, like, put them- themselves out there because this feels like a fun… Like, it’s just a key. I’m just doing this so that I can get, like, five minutes in, um, the spotlight.

They’re taking it seriously, and they are so curious about, okay, like, why do I dip like this? Or, um, like, who are the people that I need to be studying? And they’re like- Very online, looking up or watching international balls. Um, like I get a lot of questions where I’m just like, “You know what? I might have to look this up.”

So it’s really exciting to see that, and I think also just having, um, the additional support from other scenes as well, um, from Toronto, from Seattle, from elsewhere who are starting to open chapters, that’s also really helped shape the tenor of competition and growth within the scene. So shout-out to all the houses that have been pouring into our scene as well.

Gabrielle Martin: And the foundation of this work and this, this, the growth in the community and the, um, the intentionality and the rigor, um, it’s really founded or, like, the foundational part is the monthly open sessions, right? Like, ’cause this is the space that you’ve created for Black 2SLGBTQI+ folk to re- to- my understanding is it, like, it’s a mix of learning technique, and then also competing and getting experience competing.

Is that what happens there? 

Savannah: I think it depends. Um- Like, every, every session is different. We have two hours set aside. Sometimes folks are coming and they’re just practicing. Sometimes we host battles. Sometimes folks are just coming ’cause they’re like, “I’ve heard about ballroom. I’m not quite ready to try, but I just wanna meet some people.”

Um, I think that’s the beauty of it. It’s just like people show up, and we kind of make it happen. 

Gabrielle Martin: I wanna ask one last question about, um, the House of Visalia, because it seem- like Mother Bee ee , you’re a mother of this house, and Menace Visalia, you’re clearly part of this house. Is this, um, can you just… Like, what are some…

Can you talk about a defining feature of this house? Is this a main house here in Vancouver? Um, any extra context you could give about, about that would be great. 

Mother Bee: The House of Visalia was started by Mother Posh Visalia, legendary mother, excuse me. Legendary mother, um, Posh Visalia, I wanna say eight years ago.

Um, it was the first local house within the scene, and, um, really the- like the C4 ballroom, um, here in Vancouver. So I wanna give all the, as much credit, all the flowers to legendary Mother Posh for the work that she’s put into, um, not just our house, but the scene in general. Um, and she’s really supported me, especially in terms of being in the space, taking up space, um, and growing into the leader that I am.

Like, when I first got into ballroom, I was like, “You know, I’m just here for the open sessions. Um, I don’t really wanna do this.” And now look at me. If you asked me, like, two years ago if I was gonna be in this position, I would’ve just said, “You’re crazy.” Um, but I think the House of Asalhe, it’s the first local house.

It’s the largest local house, and we are growing. So we have a chapter here in Vancouver, a chapter in Calgary, in Edmonton, um, and in Mexico, and we do have members in both LA as well as in Paris. So, um, I’m really grateful to be a part of the house. Um, as, first I was the first Black princess in Vancouver, and now I’m the first Black mother in Vancouver, so I’m really grateful to have had this opportunity.

I think as a house, we’re known for runway, um, performance, and, um, fashion. So runway and performance, those are the categories that Mother Posh, um, started in, and those are the categories that she’s legendary for, um, as well as Mother Katria and so many other folk within our A house, and then most recently between myself, Princess Wing Wing, and some of the other folk in our house, we’ve really carved our space in the fashion category.

Um, I’ll let Menace speak a bit about the house as well from his perspective. Um, but yeah, for the Lustrous House of Visalia, um, the one and only. 

Menace: Yeah, I think, uh, Mother Bee ee  definitely said, um, a, a lot of the important bits as well. Um, but I think also within ballroom, um, especially because i- within the context of, like, North American ballroom, like the Vancouver chapter is still fairly young, uh, as compared to like the Toronto scene, which is like the capital ballroom in Canada.

Um, so yeah, the House of Visalia was started a year after our scene was started here in Vancouver. And I think, um, it’s important as well to have like a house within a scene just because it breeds c- competition, you know? And then I think looking at our scene now, a lot of our leaders, a lot of our, uh, statements within the scene as well, they started out within the House of Visalia.

So we definitely were, you know, the breeding ground for excellence within the scene. Uh, but also from the introduction of our house, you know, being the first like, local western, uh, first house in Western Canada, uh, we also brought the competition. So from there it was the House of Andromeda then, you know, some other houses as well, you know, that’s also here.

So now we have I think like five, six houses. So yeah, it definitely, we definitely started, you know, like a chain reaction. 

Mother Bee: Um, so I feel like alongside Visalia in terms of some of the houses that have really helped the scene grow and develop, um, I would say House of Andromeda, which, um, was founded and led by legendary Mother Ivy Visalia, who is known for, uh, the bizarre and bazaar categories and has really flourished and supported the growth of our bizarre scene here in Vancouver.

She has a fabulous house, and I’m really excited to see what they, uh, continue to do. Um, houses like the House of Suriano, um, which is a local house in Toronto, um, that really supported the growth of their scene and has poured into our scene as well. I feel like the opening of the chapter of Suriano here in Vancouver really changed some of the dynamics of how people viewed competition in the scene for the better.

Um, so shout out to legendary Mother Maldita and, um, Icon Twisted for supporting the scene. And then also seeing some of the other houses start to open chapters here more recently, from, uh, the Telfars to the Mulans, um, and more recently, the Pink Ladies and the House of Jeremy Scott. It’s really exciting to see all these houses grow and flourish within the scene, support the scene.

Um, and I’m really excited to see everyone bring their best, bring their best girls out to compete. 

Gabrielle Martin: Okay. So the, the last thing I’m gonna ask, and you’ve already generously agreed to do this, so I, I’m not… just for the listeners, I’m not totally putting them on the spot here. Um, but I wanna do, like, a ballroom 101 quick fire round.

So ballroom translation, I’m gonna give you a term, I have five terms, and if you can give me the, like, your definition, super short, like 10 seconds or, you know, like, just, just brief. Whatever kinda comes to mind, and, uh, we’ll just popcorn it. So the first term is LSS. 

Mother Bee: So LSS stands for Legends, Stars, and Statements.

Um, this… Usually we start a ball with an LSS, and this is where we recognize the people who have paved the way, people who have made moments, um, and people who are making ballroom exciting in their categories. So just really quickly, a star is someone who maybe has about a year or two under their belt in ballroom and who has a few wins.

Um, a statement is someone who’s made more of an impact in their category, so multiple wins, potentially of the years, um, under their belts. Um, really exciting. And then a legend is someone who has been deemed legendary for their category or community work by the Council of Legends or Board of Legends. Um, and that is really one of the high recognitions, um, that one can achieve in ballroom for the collective sum of your, um, years of work, dedication, um, and mastery of your craft on the floor.

Gabrielle Martin: Thank you. Okay, getting your 10s. 

Mother Bee: Um, getting your 10s is basically the first step in competing. This is, um Basically walking, performing your category, uh, or showing off your effect if it’s an effect-based category, and getting the judges to say, “Yes, I approve. You are good enough to start competing.” If you don’t get your 10s and you get chopped, it means that your journey at this ball ends here, but you can always come back.

I say every chop is a learning moment. So yeah, hopefully we get lots of 10s at this ball. 

Gabrielle Martin: The kiki scene, kiki scene versus the mainstream ball. 

Savannah: So the… I think most people conceptualize kiki and mainstream as being, like, your major leagues and your minor leagues, your minor leagues being kiki, your major leagues being mainstream.

Um, so generally in a mainstream ball, there is a much higher standard. Uh, the cash prizes can also be a lot higher. The, the definitions do overlap a bit, like kiki initially was founded for youth, but a lot of kiki scenes do also have older folks, ’cause it usually is, like, the, the, like, incubator scene for new cities, but generally, best to think about it as, like, your major and your minor leagues.

Gabrielle Martin: Okay. The commentator. 

Menace: So the commentator is basically master of ceremonies for the ball. Um, they’re definitely the voice of the ball. They control the room, and they also get the crowd going as well as the competitors. So the, the most, you know, um, encapsulating voice of the ball will be the commentator.

Gabrielle Martin: Thank you. The effect. 

Gvasalia: Um, the effect is the specific requirement for, or theme for the category. So it guides how you interpret the look or the performance so that you’re not just showing up in a vacuum, but you’re responding to something which is quite intentional. And a lot of people can get really creative with the effect.

Some walkers turn it into a full production where they have a whole entrance, and they bring this sort of energy before they start walking so that it’s, shapes how they walk and how people perceive them, and it’s kind of just sets the tone if they have a production. 

Gabrielle Martin: Thank you so much. You have all been super generous, and also just it’s been a total pleasure to speak with you.

Uh, so thank you so much for making the time today, uh, to chat with me, and, and also thank you all for just partnering with Push on this. Like, it’s… Yeah, it, it feels like an honor to partner on this inaugural ball. So thanks so much.