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Earlier this year, videos emerged of members of the ballroom community voguing in hazmat suits, holding kiki battles viaTikTok and creating hand washing tutorials with new coronavirus-inspired beats and chants. Then came the videos of members cat walking with protesters, dropping into dips in front of police cars, voguing at impromptu protest balls and marching the asphalt runway while holding Black Lives Matter signs. Through our voguing, we grieve, we resist, we show resilience. This month marks the 30th anniversary of The Latex Ball one of the largest voguing events in New York which was started by GMHC, then known as the Gay Mens Health Crisis, as a way to create awareness around H. I. V. and AIDS in the ballroom community. This year it was canceled for the first time because of the coronavirus. The ballroom scene began in the 1970s as a competitive arena for drag queens, who are grouped in chosen families called houses, and later as a haven for black and Latino L. G. B. T. Q. people. More recently, the focus during the coronavirus pandemic has been on survival and support. Now, the community has shifted to a call for justice and a collective grieving for black lives lost. The deaths of Tony McDade, a black transgender man, who was shot and killed by police in Tallahassee, Fla. , last month; Nina Pop, a black transgender woman who was found stabbed to death in Sikeston, Mo. , also last month; and the recent news that New York Citys Department of Corrections will not be bringing charges in the case of Layleen Polanco, a transgender Latina woman who was found dead in her cell at Rikers Island last year, have all galvanized the community
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