A Toolkit for Drag Queen Storytime: Effective Practices

Tiger D. Reed

Kent State University

 Problem Statement

The Toolkit for Drag Queen Storytime (DQST) is a research project implemented as an internal

document/resource within the St. Louis Public Library (SLPL) system, primarily by those who

work in youth services. Using data and feedback from three previous Drag Queen Storytime

events hosted at SLPL’s Central Library, and key literature from the field, the toolkit serves as a

guide for library staff who wish to implement this program in the future at their locations. This

toolkit will be an important step for guiding staff and documenting SLPL’s unique approach to

the planning and presentation of this program, which follows the strategic plan of SLPL to

nurture young minds. The toolkit also includes feedback from performers, and the impact of their

participation. Having a research-based toolkit available for staff only strengthens the program

and provides a framework for more inclusive practices for library programs.

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 A Toolkit for Drag Queen Storytime: Effective Practices

The research area for this project is LGBTQ+ inclusive programming in public libraries,

specifically concerning the nationwide trend of Drag Queen Story Hour, which is named Drag

Queen Storytime (DQST) at the St. Louis Public Library. Lesbian, gay, bisexual, transgender,

gender nonconforming and queer/questioning people of all kinds are an underserved information

group who live in virtually every community in America (Robinson, 2016). When public

libraries are inclusive during their regular programming, LGBTQ+ users feel more comfortable

and welcome in the space, and this strengthens the library mission. This also generates awareness

of this user group, legitimizing them as citizens in the public realm.

DQST is a newer program that has been popping up all over the country since

2015. Created by Michelle Tea and Radar Productions in San Francisco, DQST is a program

where drag performers read stories to children, with the intention of creating an affirming space

for positive queer role models (“Drag Queen Story Hour – drag queens reading stories to

children in libraries, schools, and bookstores,” n.d.). This program is innovative in that it fosters

diversity and inclusivity by bringing straight and LGBTQ communities together, much in the

same way that Gay Straight Alliance (GSA) groups have been doing for years in high school

settings. In this case, these communities come together to enjoy the storytime experience that

celebrates difference on multiple levels. Queer families attend, adults attend, heterosexual

families, and children of all ages attend the program. One queer parent commented on the Drag

Queen Storytime held at St. Louis Public Library, that “…it was good to see people who are

different like us… (Liss, n.d.) There has been little to no research conducted yet to the effects of

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hosting the DQST program both in the communities these libraries serve and within the libraries

that host the program.

Literature Review

LGBTQ+ Programming & Inclusivity

One of the justifications for holding DQST in the library is that it is a

public space, giving this event a different type of visibility and offering the public a unique way

of bringing people into the library for a children’s program. Debra Burrington (1998) writes

extensively about this in her article outlining the lengths that the Utah State Legislature went to

bar students’ access to public school facilities when they wanted to form a Gay Straight Alliance

(GSA) in 1996. She underscores the experience of all marginalized groups, including LGBTQ+

people: that they all face or have faced restriction from free movement in the public arena, and

are stigmatized when they attempt to occupy that space (Burrington, 1998). The struggle that

many students faced in the 90’s in establishing gay clubs in these public spaces had to do with

the fact that they had the audacity to want to gather openly in public, which in turn legitimizes

them as a group in society. Some DQST programs have been held in bookstores, which while

may be in ‘public’, have not garnered as much attention from media outlets because they are

privately owned. Holding a DQST in a public library brings the issue to the forefront because

the library belongs to taxpayers. This is where potential backlash can occur via local media, and

groups and individuals opposed to LGBTQ+ inclusivity. This excerpt from conservative blogger

and author Amelia Hamilton’s column on the National Review website is a prime example:

“Story time is, of course, optional, but funding it is not. Taxpayers pay for the library,

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which means they’re paying for these hyper-politicized story times that teach kids to fall into line with

left-wing values. That’s what this comes down to — a public entity offering programming to indoctrinate

children into a specific (and ideological) way of thinking (Hamilton, n.d.).”

The issue of public/private spaces was also touched upon in a qualitative study conducted

by Pruitt (2010) that highlighted the preference of gay men’s book clubs in Wisconsin to have

their clubs meet in private homes or coffee houses rather than in the public library because they

did not feel welcomed. None of the 37 participants interviewed would want to have their book

club meet in their local library and cited that they were not represented in those spaces, either in

programming (there was none) or in library materials (Pruitt, 2010.) This is evident in the lack of

LGBTQ+ programming nationwide, and a passive book display for Pride month in June simply

is not enough. Pruitt (2010) argues that with consistent dialogue, gay book discussion groups

and others like them can help public libraries fulfill their missions by diversifying their services

and materials. While this may be true, the responsibility lies with the institution, not the

marginalized group they could potentially be serving. In the case of DQST, public libraries

(really their youth services departments,) planning and holding these events are meeting the

public halfway by taking it upon themselves to organize the program and market it to their users.

This fulfils the fourth strategic direction of the American Library Association’s Strategic Plan,

which is a commitment to equity, diversity, and inclusion (McManus, 2017).

Libraries can no longer rely on their mission statements tucked away on their websites

that simply state that everyone is welcome in the search for information. In a recent article

discussing LGBTQ+ inclusion in parks and recreational facilities Joseph Martin (2017)

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succinctly discusses the need to move beyond the non-exclusionary inclusive approach because

marginalized people may still not feel welcome or safe (Martin, 2017). Martin (2017) points out

that if LGBTQ+ people never see themselves reflected in programming they will not be inclined

to participate. His article also makes the relevant point that programs that feature LGBTQ+

people or focus on LGBTQ+ issues are not disregarding other people, or intentionally

disaffecting those who do not identify as such, merely treating these patrons with dignity

(Martin, 2017). DQST features LGBTQ+ people as readers to small children, whose aim is to

encourage literacy and imaginative play that brings the community together.

In a white paper written for the Association for Library Service to Children (ALSC),

Campbell Naidoo (2014) includes sexual orientation as an aspect of a person’s culture and

asserts the need for libraries to promote a more nuanced understanding of cultural difference via

programming. He encourages moving away from the five Fs (food, fashion, festivals, folklore

and famous people) to include more lived experiences of different cultures as do Krueger and

Lee (2016) in their article focusing on their event Storytime-Palooza, and how to be more

inclusive in a storytime setting. Campbell Naidoo (2014) asserts that when children’s librarians

introduce diversity in programming and materials, they foster learning environments that help

kids foster a sense of self, exploration of the world around them, and to develop cultural literacy.

DQSH certainly meets this criterion of helping children and their caregivers explore the world

around them, by listening to stories from a culturally authentic source: drag performers. Krueger

and Lee (Krueger & Lee, 2016) recommend hosting guests and facilitating community

collaboration to add diversity to the regular storytime rotation and an authentic voice for children

especially when there seem to be few options for representation. Having drag performers read

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picture books to children and adults gives those in attendance an event with a person who

presents another valid lived experience that may be unfamiliar to them in their own lives and

may also encourage more diverse programming in the future featuring other cultural groups

outside of the normal seasonal presentations.

Direct Services for LGBTQ Patrons

There is a general lack of research that directly assesses direct services to

LGBTQ+ patrons in libraries, but there are several important articles and some studies that have

addressed issues that LGBTQ+ users face within these spaces. Robinson (2016) presents an

article that articulates the dangers of continuing to ignore LGBTQ+ patrons, especially LGBTQ+

youth, as this user group is still susceptible to safety issues such as violence and bullying. In the

2015 Youth Risk Behavior Survey (YRBS) conducted by the CDC, sexual identity data was

included. This survey was administered to students in 27 states, with 34% of LGB students

report being bullied on school property, opposed to only 18% of their heterosexual peers. A

whopping 42.8% of LGB students reported that they had seriously considered committing

suicide, with only 14.8% of heterosexual students reporting this consideration (“LGBT Youth |

Lesbian, Gay, Bisexual, and Transgender Health | CDC,” 2017). Programming that includes at

risk youth can sometimes provide a literal lifeline to LGBTQ+ people and their families in public

spaces such as the library. Robinson (2016) ascertains that when the information needs of

LGBTQ+ users are excluded from priorities or shelves of public libraries; the message is clear:

these patrons do not matter. LGBTQ+ users are rendered invisible when they are too afraid or

uncomfortable to ask for materials, and often ignored in programs, displays, and collection

development (Robinson, 2016).

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 This includes LGBTQ+ families as well, as Campbell Naidoo (2013) demonstrated via a

quantitative study based on a purposive sample of 39 public libraries that represented where

LGBTQ+ families live in the United States. Library directors were asked to complete a 15-

minute phone interview and questionnaire regarding services and materials available to this user

group (Campbell Naidoo, 2013). 30 libraries responded to the invitation to the study and many

respondents found it difficult to reach out and identify LGBTQ+ families as there are no visible

indicators and they did not want to offend patrons. Campbell Naidoo (2013) notes that because

of this fear, most staff found ways to be generally inclusive instead of hosting specific library

programs for LGBTQ+ caregivers and their families. Some recommendations that were offered

involved subversive storytimes, where the storyteller changes pronouns of characters to be more

inclusive, and this has been echoed by others as well (Campbell Naidoo, 2013; Krueger & Lee,

2016; Nichols, 2016). The results also reflected reluctance or in some instances, flat out bias

against titles and LGBTQ+ patrons in general (Campbell Naidoo, 2013). These findings

reinforce the notion of staff training in public library spaces as well as the need for providing

professional development opportunities to help staff meet the needs of diverse families including

LGBTQ+ patrons. Any library who hosts a DQST will at some point need to address staff

response or need for training, especially considering the coordination of the event. Public Safety

must be on board, as well as staff directly involved with emceeing the event and helping families

in the children’s library before and after the program.

Hosting a program such as DQST is an endeavor that clearly shows the library’s

stance on diversity and inclusion, especially since it is marketed as a youth services program.

This aligns with the concept of social justice and the role of public libraries in upholding and

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facilitating a space that is open and available to all. In his analysis of public library services to

LGBTQ+ user groups in the UK, Vincent (2015) uses the lens of social justice to recommend

best practices to engage in more authentic relationships with LGBTQ+ patrons. This is in line

with the mission of public and school libraries in general, to facilitate the dissemination of

information and encourage learning for all its users, regardless of their demographic or identity.

The American Library Association (ALA) bill of rights dictates that a person should have access

to the library regardless of their background or views, and this includes LGBTQ+ people (admin,

2007). Social Justice is concerned with giving every person a fair chance at having opportunities

for economic, social, and political rights (“Social Justice,” n.d.). Principles of social justice seem

especially necessary when addressing concerns of underserved populations such as LGBTQ+

young people and adults, to discern what practical applications can promote a user-centered

space for this population. Vincent (2015) encourages libraries to educate themselves, get to know

their LGBTQ+ community, consult with the community and ultimately involve the community

by making the library a center to host events and activities (Vincent, 2015).

One public library in rural western New York is taking up this approach by taking the

suggestions of their young adult patrons by forming a GSA that teens named the Rainbow

Alliance (Stickles, 2017). The Rainbow Alliance has not only given local teens a safe space to

gather, but also the same teens have become ‘regular’ patrons in the library attending other

programs and utilizing library services (Stickles, 2017). The importance of a library space to

youth who are in the process of coming out to themselves cannot be understated (Hughes-Hassell

et. al, 2013). This is a space that is familiar, anonymous (mostly), and can potentially empower

LGBTQ+ young adults and their peers in healthy ways. LGBTQ+ patrons, young adults, and

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families who attend the DQST program may not normally attend library programs or even be

aware that the library is a space that would be welcoming to them, and as a result may attend

other programs and utilize the spaces and services that the library has to offer as a result. The

goal of the GSA club is to bring people together, both queer and straight, and the same can be

said for DQST, as it encourages many different types of families to comingle before, during, and

after the program.

In closing, Campbell Naidoo (2018) also published potentially foundational articles

addressing the planning and facilitation of DQST in public libraries. Twelve libraries were

surveyed online about their experiences and results of hosting DQST, and the resulting article

provides an excellent framework for those interested in hosting the program in their respective

libraries. Overall, programs that were more successful were the ones where the hosting libraries

were more intentional with their planning, from recruitment of performers, marketing DQST to

their patrons, to facilitating training (Campbell Naidoo, 2018). Campbell Naidoo (2018) stresses

the importance of training by providing readers with practical information about selection and

training of drag queens for library staff; especially in noting that presenting storytimes require

skills that not everyone has knowledge of. Holding a training session of some kind will help

ground performers before the DQST, as it gives the library staff a chance to explain the structure

of the storytime, gives everyone a chance to establish rapport, and a space for a critical read-

through of selected titles (Campbell Naidoo, 2018).

The study also showed that the recruitment of drag performers varied among participants,

and that locating and selecting participants was one of the larger parts of the planning process

(Campbell Naidoo, 2018). A third of respondents worked with the Drag Queen Story Hour

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organization, two established partnerships in the community, and two librarians attended drag

shows in their community (Campbell Naidoo, 2018). These approaches vary widely, and those

planning to host a DQST program will want to take note and set aside ample time for recruitment

if they are not already knowledgeable about the local drag scene. They may be more likely to

find success by reaching out to local LGBTQ+ organizations. A quarter of respondents used

volunteers that were already working at the library that hosted the program, and Campbell

Naidoo (2018) also argues for the inclusion of input from an LGBTQ+ perspective (either

LGBTQ+ identifying library staff, community partners, or the public,) to avoid

microaggressions and stereotyping both the performers and the audience (Campbell Naidoo,

2018.)

Another helpful aspect of the study is that Campbell Naidoo addresses selection of

materials, and more than 75% of respondents chose picture books that overtly and covertly and

dealt with topics of individuality, gender diversity, and queer topics (Campbell Naidoo, 2018).

Material selection is crucial, as library facilitators will want to present an entertaining and

engaging program that upholds the standards already in place at their institution. Campbell

Naidoo (2018) also notes that a DQST program need not always include themes related to

LGBTQ+ experience. This may be helpful for library staff as they may find other picture books

that are more successful when read-aloud and not overly didactic.

It is immensely helpful to have a study such as this one be published as it contains

practical help for libraries who may be considering hosting a DQST program and compiles the

experiences (both positive and difficult,) of a dozen libraries nationwide. Hopefully this is the

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beginning of a newer trend of creating discourse around direct programming for LGBTQ+ and

other inclusive programming.

Objectives

After planning and implementing two iterations of the DQST program at SLPL, it was

determined that intentional planning was a key component of a successful DQST program.

Creation of an effective practices document and the resulting toolkit for internal use was deemed

the easiest way to sustain DQST as it continued to be planned and presented by different youth

services staff at separate locations in the SLPL system. After examination of the literature in the

field, four main objectives were created for this project:

● What are effective practices for Drag Queen Storytime?

● What are effective approaches for planning DQST?

● What procedures should staff be mindful of?

● What are effective practices for seeking out performers?

Methodology

The methodology for this research project employed qualitative ethnographic approaches,

combining unstructured observation of the DQST programs and short, structured interviews with

four of the drag performers. The goal of these interviews was to help demonstrate the impact of

the program for the performers and help to inform those planning the program in the future to be

sensitive and inclusive towards the performers. Unstructured observational data was recorded for

three DQST presentations via video and field notes. These video and field notes were analyzed

for participant response, and to analyze program content. Field notes were both in descriptive

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and reflective forms. These field notes informed the content of the interviews and helped to

evaluate effective practices for the planning of the program. Observational data was used to

streamline DQST storytime plans and streamline procedures for youth services staff facilitating

DQST.

Interviews were coded using a grounded theory approach, using initial coding/open coding and

then focused coding, which grouped these codes into broader concepts of data gathered

(Connaway & Radford, 2017). In Vivo codes were identified, emphasizing the participant’s

voice, directly adopted from the data (Connaway & Radford, 2017). Interview findings are

presented in narrative form to provide context for the experience of participating in the planning

and performance of DQST.

Internal documents used in preparation and planning for DQST are also supplied and presented

in the toolkit, discussing the structure of DQST. These documents include: Great Read Alouds,

DQST Guidelines for Readers handout, Effective Practices of DQST, a sample Program

Information Request, a sample storytime plan, and a Justification/Resource Sheet. All these

documents are included in the Appendices following this report except for the Effective Practices

of DQST, which is provided under the Discussion heading of this report. The DQST promotional

video filmed during the second installment of the program is included to demonstrate for those

library staff who have not attended DQST before to have a glimpse of what a successful iteration

of the program is.

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Results

The planning of DQST took place in the months leading up to the first DQST event in

September of 2017. The Manager of Central Youth/Teen Services and the Youth Services

Specialist met regularly to discuss logistical aspects of planning a program on the scale of

DQST. It was decided that the expected attendance would be too large to be held in the

Children’s Library space, and so a request to reserve the Carnegie Room on Central Library’s

third floor was made. The next step was to complete a Program Information Request that

outlined the date, time, location, description of the program, and cost of any supplies needed for

the craft directly following the program. A Marketing work order was then submitted, which

included a request for flyers and a Facebook Event Page.

Staff preselected picture books for performers to choose from during the training session

and created a storytime outline that detailed the order the stories were to be read. The reasoning

behind the preselection was to ensure that the storytime operated similarly to every other

storytime SLPL offers, except that drag performer read the books instead of library staff. The

thought process behind this was to take the pressure off the performers who may be reading to

children for the first time and to make sure that early literacy standards were met with high

quality picture books that worked well in a storytime setting.

The DQST storytime outline also included the lyrics for all songs to be sung by the

emcee in between readings, so performers could participate if they wished. A training for

performers was conducted a month prior to the DQST event where performers selected their

books, and a full read-through occurred. Each performer was asked to pick one book to read to

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the audience, and a youth services staff member was designated to sing a welcome/hello song

and sing songs in between each book. The youth services staff was also designated to stand in

and read in case one of the drag performers could not make it to the show. Library staff present

helped discuss effective practices for reading to children and outlined procedures for the event.

Performers were also instructed on how to respond to any protests or harassment during the

program. Any questions that performers had were addressed during the training.

All the books were photographed and uploaded into a PowerPoint presentation so

performers would not have to hold books facing outward, and so the larger audience could

clearly see the pictures.

Observational Findings

DQST #1

The first DQST was held on September 30, 2017 at 2:00 p.m. There were 247 people in

attendance, well over the projected number of about 80-100. The location for the DQST was on

the third floor of Central Library, in the Carnegie Room, which is a large room that is normally

used for lectures, exhibits, and larger staff meetings. The room has a skylight and maroon walls

with wood floors. There are seats available for approximately 80 people and in the front of the

room there is a lectern, with a retractable projector screen for presentations. There is a small

“green room” on one side of the room, where performers gathered themselves before the

program began. The books that were selected to be read were: Giraffes Can’t Dance, by Giles

Andreae, Leonardo the Terrible Monster, by Mo Willems, The Wheels on the Bus, by Jane

Cabrera, The Duckling Gets A Cookie!?, by Mo Willems, and Hooray for Hat!, by Brian Won.

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 The day of the DQST performance, several youth services staff from across the system

attended and were on hand to help in any way they could. The lighting in the space was dim, and

the screen, while still easily viewed, was less visible due to the natural light from the skylight

above. There were many more people in the space than there were chairs, and many people had

to stand. Families with younger children were encouraged to have their children sit on the

storytime squares in the front. Out of the five confirmed performers, only four performers

showed, and the emcee was designated to read their book. None of the performers or the emcee

wore a mic. The emcee welcomed the audience, introduced the drag performers, and launched

into the welcome song. The audience was responsive and loudly appreciative throughout the

program and consisted of a mix of families and adults without children. Each performer did very

well reading their books, and engaged in dialogic reading with the audience, asking questions or

making witty asides that worked well in the context of the stories they were reading. The

audience participated willingly, and adults laughed at the performers’ asides. The younger

children in the front of the room were engaged in the program, and during the movement song

“Head Shoulders Knees and Toes”, many adults and children followed along and participated.

There was a prepared craft at the end of the program, held in the foyer of the third floor,

which was chaotic as the acoustics outside of the Carnegie room are very loud. It was difficult to

be heard. The craft consisted of paper crowns that children decorated with sticker gems and

markers that library staff and caregivers helped children to create.

The performers were mobbed at the end of the program with caregivers, adults, and even

teenagers waiting to get a chance to have their picture taken with them or to simply speak to

them. This was unfortunate as the performers had no break after the performance to gather

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themselves. One teenager, draped in a large pride flag, told library staff that they had been

waiting for a whole month to see the performers and that they were very excited to meet them.

There were two reporters from local press present to observe and interview the performers after

the event as well. This unplanned meet and greet lasted for about 45 minutes.

DQST #2

The second iteration of DQST implemented some changes, as staff felt that with the large

number in attendance for the first program the venue for the event should be moved to

accommodate a larger group. The auditorium at Central Library was reserved, as it seats 250

people. This event was held on Saturday, May 12, 2018 at 2:00 p.m. and except for the venue

change, the original format was followed. The auditorium presented several advantages over the

previous space, as there would be adequate seating for all attendees, there is a green room for

performers to prepare/use as a changing room, and the projection screen was much larger in the

auditorium space. The auditorium is also easier for patrons to locate, as it is accessible via the

Locust Street entrance to the building. When patrons enter the lower level, there are bathrooms

located around the corner from the elevator and they are deposited into a large foyer area which

leads into the auditorium. Upon entering the auditorium, there are stadium seats that face a small

stage. There were five seats set up on the stage in front of the screen. Performers prepared for

the program in the green room, and the Youth Services Advocate prepared and operated the

PowerPoint slides in the sound booth. The lighting was adequate and easily brightened or

dimmed. The only disadvantage of the physical space was that children could no longer sit as

close to the performers like they would in any other storytime setting and this created a more

concert-like feel.

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 Performers and emcee all used microphones, either over the ear or clip-on mics. During

the program, a youth services staff member filmed parts of the program for promotional

purposes. The books that were read for this iteration were: The Monster at the End of this Book

by Jon Stone, The Bad Seed by Jory John, The Book With No Pictures, by B.J. Novak, and Clap,

by Ian Aurora. Three performers were present, and the emcee read the fifth book and sang all

interactive songs in between. 112 people were in attendance, scattered throughout the seating.

Caregivers and children were engaged in the program and participated when prompted to do so.

Only the youngest of children and babies were fidgety during the program. As in the first

iteration of DQST, there were many moments of dialogic reading, and performers were able to

interact successfully with their audience. Body language of audience included, leaning forward,

clapping, singing along, and dancing when prompted. The final story of the program was an

interactive book called Clap, which the emcee read and invited all the children in the audience

on stage to participate in the book.

Directly following the storytime portion of the program, patrons were invited to create

their own DQST buttons by decorating and using the button maker. They were also invited to

color bookmarks designed by one of the drag performers. Caregivers and children enjoyed these

activities, even though they had to stand in line to wait to use the button maker. Youth services

staff utilized this line to ask patrons if they had fun and enjoyed the program. Children responded

with a resounding “Yes!” and caregivers expressed their appreciation for diverse and inclusive

programming.

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 Performers took an approximate fifteen-minute break before returning to the foyer area to

have a thirty-minute meet and greet. Many parents and children willingly waited in line to have

their picture taken with the drag performers and many children were thrilled to meet them.

DQST #3

The third and most recent iteration at the time of the writing of this report occurred on

Saturday, September 22, 2018 at 2:00 p.m. and was held again in the auditorium space at Central

Library. There were 133 attendees, 90% of which were families with young children. The books

selected for the program were: Hoot Owl Master of Disguise, by Sean Taylor, Sam & Dave Dig a

Hole, by Mac Barnett, Nanette’s Baguette, by Mo Willems, One Little Monster, by Mark

Gonyea, and If You’re Hoppy and You Know It by April Sayre. Four performers were present

again, with the seats arranged on the stage in the same way. The Youth Services Advocate was

again on hand to advance the slides for the PowerPoint presentation. A different emcee presided

over the program, with the addition of a guitar, which was used to sing the welcome song and all

other transitions during the program. This lent to the already concert-like feel of the program.

Children and caregivers responded positively to this musical addition to the program. Body

language during the program was positive, with attendees leaning forward, tapping their hands,

and singing along. Caregivers were observed nodding their heads and laughing at asides directed

at them. Children had enormous attention spans apart from the reading of one book, Hoot Owl in

Disguise, as it was a lengthy picture book. The performer reading this title offset this a bit by

making the story interactive and having the audience perform an action every time Hoot Owl’s

disguise was revealed in the story. The storytime portion of the story was approximately thirty

minutes long, on par with regular storytime programs.

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 Directly following the program, there were two crafts available, and children and

caregivers were invited to create and decorate paper crowns again, and to also make their own

rainbow rings. The crowns were more successful, as they were less complicated for younger

children to make and caregivers had no issue explaining it to their children. The rainbow rings

consisted of a wooden ring that children looped different color streamers onto the ring. This

necessitated a staff member to demonstrate to both children and caregivers how to assemble,

often with the staff member making it for smaller children in attendance. Staff utilized this to

obtain patron feedback from the event, and caregivers overwhelmingly responded positively,

expressing appreciation and gratitude for having the program.

Drag performers were again given the chance to take a short break, and then participated

in a meet and greet. A public safety officer volunteered to photograph attendees with all the

performers and stayed with the group of performers in this capacity for the duration of the meet

and greet.

Performer Interviews

Four performers consented and participated in interviews and will be identified as

Performer 1, 2, 3, and 4 for the purpose of this project. Each participant was interviewed in a

meeting room at Central Library and the interviews were audio recorded. These recordings were

transcribed and then coded thematically. Table 1 contains interview questions and thematic

codes. Half of the participants had performed two out of three times the program was offered,

and the other half of the group performed at all three DQST programs that SLPL had offered.

75% of performers indicated that they had been drag performers for 7 years or more, with one

performer who reported that they had been performing for about a year. Three out of four

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performers also became involved with DQST via a DQST program held at Webster University in

2016 and were recruited by SLPL library staff that attended that program. Performer 1 was

recruited by Performer 2.

Performers all had varying reasons for becoming involved in DQST. One performer

spoke about wanting to be a role model, stating:

“If there was something like that when I was little, I would have thought it was the

coolest thing ever, because when I was little, I didn’t even know what drag queens were.

It would have been cool to see some life size Barbie person reading a story to me.”

Others touched on the family-friendly aspect of the program, noting that they like kids

and drag, and have friends with children that can’t always attend their performances at night; that

the library was also a wholesome place to perform in contrast to other drag venues, such as the

bar scene. Performer 4 discussed that the DQST program hits all three of their main goals when

performing, which is to educate, empower, and entertain. Performer 2 also stated:

“I did a show with Webster (University), and they contacted me about doing a DQST,

and I was like well, you are a for-profit institution and you aren’t paying us to do it, so I

won’t want to do it. Then I saw you guys doing it and I thought oh, this is more of like a

social service and I can help the community more than making a college look cool.”

All the performers expressed that they liked/loved the idea of DQST, noting that the

program is inclusive, encourages reading, and presents an opportunity to introduce children and

their caregivers to LGBTQ+ culture. Performer 3 discussed that the program helped them feel

like a part of the larger context of LGBTQ+ history:

Reed 20
 “ …I think it’s an opportunity to sort of have a say in a child’s or what might be a child’s

first introduction to LGBT culture, before anyone else has a chance to come in and

present various biases or perhaps outdated thoughts and prejudices and sort of the

chance to introduce myself in that sort of identity sense, is a continuation of what is a

cornerstone of the LGBT rights movement in America.”

Performers also reported varying types of personal impacts from participating in the

program. Performer 1 discussed that the program helped them like children more and appreciated

that there was a lack of judgement from kids who attended the program. Performer 1 also

enjoyed selecting their outfit, noting the need for different clothing than when they perform for

an adult audience. Performer 4 echoed this sentiment as they were apprehensive leading up to the

program and that the audience response and interaction with the children and their caregivers

was emotionally rewarding. Performer 3 had a more direct impact, as their participation in DQST

led to a position working at SLPL. Performer 2 noted that the DQST programs were also great

exposure for their drag persona, stating: “NPR was there, and that was the first time I saw my

name on NPR and so I was like, wow. That’s a lot of visibility, it was cool and kind of powerful.”

Everyone reported that their overall experience was a positive one, and that they were

comfortable performing at the library. There were some challenges, such as ensuring the use of

appropriate language when performing for children and having to wake up early to get their

make-up and outfits ready. Performer 3 reported that it was nerve wracking to perform for

children, that it was a completely different experience than with adults. Another challenge was

the possibility that there might be protestors or a disturbance during the performance.

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A notable positive experience for Performer 3 was when a little boy gave them a blue rose that

they now carry with them in their “drag” bag. Performer 4 discussed the meet and greet line after

the program:

“I’ve been doing this for 9 years and I have never had, I mean I get stopped for photos

every once in awhile like for any gig that I do, but to be stopped and to have an actual

meet and greet line like you are Santa at the mall just floored me. It was like whoa, this is

starting to take off, this is starting to be a legit thing and I was very humbled by that.”

All performers also expressed that they were comfortable performing in library spaces,

with Performer 3 discussing the facilities specifically:

“Wonderful accommodations. So the professionalism of the SLPL’s Children’s Library

staff was unprecedented, when it comes to drag, I don’t know about the others, but I am

being used to being in basements or getting ready in the basement of a bar or being

upstairs and there’s holes in the floors and you can’t walk. Central had a green room

and bottled waters, and we had security escorts because certain areas of the building you

need a badge for, it was very nicely done.”

Performers also unanimously felt supported in most respects with only one performer

bringing up that drag performers are volunteering their time and are unpaid. Performer 2 noted

that although they do not personally wish to be paid, that for those who are newer to drag, they

would feel valued to be compensated while performing in DQST. When asked if the library

should make any changes to the format of the program to better equip performers, most said that

they did not need additional support. Performer 3 discussed how helpful the DQST training was,

as it alleviated some of the pressure of performing in a new way for a new audience, but also

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wanted to emphasize that performers need to have an introduction to what an effective storytime

is:

“I don’t think the general public including performers, especially drag queen performers

aren’t doing a lot of children’s book reading…it’s not just sitting down and reading a

book, it’s much more dynamic. I never really knew or put thought into storytime

containing motor skills, or rhyming, or singing, and you know it’s not just literacy, it’s

kind of complete childhood development.”

Finally, performers were asked what other LGBTQ+ programs they would like to see in

public library spaces, and these answers varied as well. All performers thought having a queer

history program at the library was of importance. Performer 1 stated:

“I think a queer history thing would be cool because you don’t learn about that in school.”

Everyone also thought Performer 2’s suggestion of having an all ages drag show at the library

was an exciting idea. Performer 2 also suggested having queer musicians to perform in the

Creative Experience studio to advertise library services that LGBTQ+ patrons may be unaware

of. Performer 4 suggested programming aimed at transgender and gender nonconforming youth

as this is not only an underserved user group but also a group that is increasingly more visible in

society. Performer 3 expressed that they wanted to see a celebration of LGBT history with more

visibility and marketing on par with black history month efforts.

All four performers were gracious in donating their time and their thoughts about their

experiences concerning their level of participation in DQST. The interviews created a space for

discourse that involved the drag performers, instead of speaking about them. The planning and

Reed 23
execution of this program and programs like it must consider the experiences of those who help

facilitate its success and be intentional in this aspect.

Discussion

The effective practices listed below are the culmination of this research and the lived

experience of presenting the first DQST program in a public library in the St. Louis metro area.

Input from performers, youth services program planning standards, and program analysis all

contributed to these Effective Practices.

Effective Practices

Logistical Considerations:

 Meet with your staff and supervisors before planning stages of DQST; discuss program,
as their support is necessary
 Follow all proper procedures and policies for program planning
 Decide the scope of the program for your location.
o 15-30 People: Regular storytime area at your location
o 30-50 People: Larger meeting room space, Multi-purpose room, Chapter book
room at Central Library
o 50+ people: Auditorium space, or Carnegie Room at Central
o 200+: Auditorium space
 Book the room well in advance of the program, when writing program plans.
 Consider having a “green room” or dedicated changing space for performers, with bottled
water and straws (this is so it doesn’t mess up makeup)
 Create Program Information Request.
 Create Marketing Work Order as needed, and request Facebook Event Sheet
 Meet with Public Safety ahead of event, ask for one public safety or secondary officer to
be present during program
 2 weeks ahead of program, create an Event Sheet (if at Central), or Meeting Room
request
 Contact Public Relations manager and request an Insider Post about DQST and phone
talking points

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  Remember to complete a Program Recap sheet 24 hours after the DQST
 Take pictures or film storytime for promotional and evaluative purposes
Recruiting Performers:

 Reach out to past performers

 Reach out to local LGBTQ+ community contacts asking if they have any
recommendations for performers, both drag queens, drag kings, and gender fluid
performers
 Reach out to local organizations such as PROMO, Metro Trans Umbrella Group, and the
PrideCenter St. Louis.
 Ask library staff if they know anyone who performs drag
 Attend another DQST in the region if there are any
 Attend a local drag show
 Ask performers if they know of anyone else who would like to participate
 Reach out to the national Drag Queen Story Hour if needed
Storytime Planning:

 Select picture books and get feedback from other youth services staff about selections
 Select books that work well in other storytimes, or have been used before
 Select books that are easy to scan in the color copiers, so avoid oversize books
 Create a PowerPoint with all books in order
 Create a storytime plan in chronological order with all songs and lyrics written out,
giving performers copies
 Choose an emcee who enjoys performing in front of people, as this person will be the
“hype person” for the event
Training:

 Performers who commit to reading at DQST will need to have a background check
 Utilize the DQST Training Sheet or Create your own that cover parameters of the
program
 Select a date/time when all performers can meet
 Introduce youth services staff and performers
 Discuss training sheet and expectations of performers: language, appropriate dress, etc.
 Have a complete read-through of the program, having each performer read through their
book
 Provide supportive, constructive feedback on how performers read
 Answer any questions the performers may have

Reed 25
  Go over the structure and logistics of the program from beginning to end with performers
so they know what to expect
 Consider and discuss writing an inclusive welcome statement to be read to the audience
with performers input
Craft/Meet and Greet:

 Design and plan for a craft that is appealing to varying age ranges
 Plan for a simple craft that is not too difficult for younger children that caregivers can
help with
 Order enough supplies so as not to run out
 Use the craft time to talk to caregivers and children about their experience
 Provide a space where performers can take a break after the storytime away from patrons
 Have a library staff member help organize a meet and greet line if many people wish to
meet performers
 Help caregivers and children take pictures with performers
 Ask to have a public safety officer present during the meet and greet

Next Steps

DQST is a unique program that has become more highly contentious since its inception in

2015. Several libraries have cancelled the program outright, most notably the Houston Public

Library, when it was discovered that a drag performer had been convicted of a sex crime and had

not had a background check (Chasmar, 2019). Others have dealt with protestors in the hallways

of library spaces or outside (Pierpoint, 2019). This underscores why this project was undertaken,

to provide youth services staff at SLPL tools to create, plan, and facilitate a consistently

excellent and well attended program that brings the community together. Programs like DQST

are only as successful as they are intentionally implemented.

It is via intentional and sensitive planning that this program will continue to be a unifying

force for the community, but this is the type of program that will need to grow, and possibly

Reed 26
change over time if it wishes to remain sustainable. How might other LGBTQ+ people be

included? How can SLPL and other libraries implement more affirmative inclusive programming

for the LGBTQ+ community and other underserved communities?

The DQST programs observed and discussed in this project were large scale from the

beginning, but do not always need to be so. This program can work with only one performer, in a

more traditional storytime style, pared down for a smaller venue or audience. A smaller version

of DQST does not necessarily mean it is any less of a program if it is meaningful to the patrons

who attend. This toolkit is meant to serve as a spring board for youth services staff who will

ultimately use it to build upon this program structure to be creatively inclusive in the SLPL

library system in the future.

Conclusion

DQST is a program that continues to be offered to the patrons of the SLPL library system

even as this conclusion is being written. The SLPL administration has been supportive of this

program right from the very beginning, and this has made a difference in how the program was

supported and received. Central Youth Services worked in concert with the effort of the SLPL

Marketing department and was given the green light to plan, facilitate and structure the program

in such a way that upheld our storytime standards already in place. The program’s success is

notable via local press coverage and other regional libraries have inquired about the logistics of

planning a program that is potentially controversial but also one that brings such joy to patrons.

One of the things that sets an enormous precedent for this project is the interviewing of

drag performers who have participated in the program, as their voices are vital. Without the

Reed 27
performers, the program ceases. Repeatedly, articles have been published that discuss drag

queens, take pictures of the events, but fail to speak about the experience of what it is to be a

drag queen presenting a storytime to children. Interviewing and creating discourse around the

program that showcases its most important guests is a step that was missing when DQST first

began, as their voices help to make the program a stronger offering for patrons.

The goal of this project was to comprehensively research the practice of DQST and

assess the prevalence of LGBTQ+ programming across the Library and Information Science

field, providing the framework to continue to create inclusive programming that represent and

celebrate underserved communities in the city of St. Louis and the wider St. Louis Metro Region.

The intentional planning and execution of DQST is a hallmark of the efforts of SLPL, and this

toolkit documents that for future iterations of DQST.

Reed 28
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threats and national scorn’. Retrieved Aprill 11, 2019 from

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in-houston-call-i/

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 Appendix A
Great Read Alouds, to be included in online DQST Toolkit

Drag Queen Storytime -Great Read Alouds

1. What A Wonderful World, illustrated by Tim Hopgood, Louis Armstrong

2. Worm Loves Worm by J.J. Austraian

3. Leonardo the Terrible Monster by Mo Willems

4. A Boy and His Bunny by Sean Bryan

5. Bark, George by Jules Feiffer

6. The Wheels on the Bus by Jane Cabrera

7. Squeak, Rumble, Whomp! Whomp! Whomp! by Wynton Marsalis

8. Giraffes Can’t Dance by Andreae Giles

9. Found by Salina Yoon

10. Mr. Pusskins, A Love Story by Sam Lloyd

11. Matilda and Hans by Yokococo

12. Pete the Cat, I Love My White Shoes by Eric Litwin

13. The Duckling Gets A Cookie!? by Mo Willems

14. The Cow Loves Cookies by Karma Wilson

15. Hooray For Hat! By Brian Won

16. No Fits, Nilson! By Zacariah OHora

17. Katie Loves the Kittens by John Himmelman

18. Say Hello Like This! by Mary Murphy

19. Roar! A Noisy Counting Book by Pamela Duncan Edwards

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20. Jazzy in the Jungle by Lucy Cousins

21. Hooray for Birds! By Lucy Cousins

22. Grumpy Bird by Jeremy Tankard

23. I’m Not Sleepy by Jonathan Allen

24. Little Gorilla by Ruth Bornstein

25. Clip-clop by Nicola Smee

26. Move Over, Rover by Karen Beaumont

27. I Got the Rhythm by Connie Schofield-Morrison

28. Please, Baby, Please by Spike Lee

29. The Watermelon Seed Greg Pizzoli

30. The Book with No Pictures by BJ Novak

31. Banana! by Ed Vere

32. Please, Puppy, Please by Spike Lee

33. I Am Jazz by Jessica Herthel and Jazz Jennings

34. It’s Okay to Sparkle by Avery Jackson

35. This Day in June by Gayle Pitman

36. Jacob’s New Dress by Sarah Hoffman

37. It’s Okay to Be Different by Todd Parr

38. Hello, My Name is Octicorn by Kevin Diller and Justin Love

39. Red: A Crayon’s Story by Michael Hall

40. After The Fall, Dan Santat

41. The Adventures of Beekle, Dan Santat

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42. When’s My Birthday, Fogliano

43. I don’t Want to Be A Frog!, Dev Petty

44. If You’re Hoppy ,April Sayre

45. Ribbit!, Rodrigo Folguerira

46. A Hungry Lion, Or A Dwindling Assortment of Animals. Cummins

47. Spunky Little Monkey, Bill Martin Jr.

48. Stuck, Oliver Jeffers

49. Gaston, Kelly Dipuccio

50. The Bad Seed, Jory John

51. Quackers, Liz Wong

52. Noni the Pony, Alison Lester

53. Clap, Ian Aurora

54. Singin’ in the Rain, Tim Hopgood

55. We Found A Hat, Jon Klassen

56. Creepy Carrots!, Aaron Reynolds

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 Appendix B
Guidelines for DQST Performers

Reed 37
Reed 38
 Appendix C
DQST Justification/Resources Sheet

Drag Queen Storytime Justifications/Resources

Reasons to host a Drag Queen Storytime:

 LGBTQ+ people live in our communities

 LGBTQ+ people are an underserved user group in public libraries
 To create an affirming space for LGBTQ+ role models
 Encourages different types of families to come together for a program
 Provide affirming programming for LGBTQ+ people in a public space
 To promote diversity and inclusion in youth services programs
 DQST aligns with SLPL strategic plan and ALA Bill of Rights
 Programs like DQST create awareness of the public library as a community resource for
LGBTQ+ people and families
 Creates a safe space for LGBTQ+ youth

Resources:

 Drag Queen Story Hour- https://www.dragqueenstoryhour.org/

o The official Drag Queen Story Hour website, where the program began.
 Open To All, Serving the GLBT Community in your library-
http://www.ala.org/rt/sites/ala.org.rt/files/content/professionaltools/160309-glbtrt-open-to-all-
toolkit-online.pdf
o A toolkit created by the American Library Association Gay, Lesbian, Bisexual, and
Transgender Round Table that is meant to introduce library staff to the concept of
LGBTQ+ patrons and their user needs in library spaces.
 #Libraries Respond: Drag Queen Story Hour- http://www.ala.org/advocacy/libraries-respond-
drag-queen-story-hour
o A comprehensive resource list for libraries/librarians from the ALA covering effective
practices, ALA bill of rights interpretations, blog posts from ALA members, and
recommended resources from ALA staff. An excellent resource.

National Organizations:

 Gay Straight Alliance Network (GSA)- http://www.gsanetwork.org

o National network for Gay-Straight Alliance Clubs
 Human Rights Campaign- www.hrc.org
o National group that advocates for LGBTQ+ equal rights
 Trevor Project for LGBTQI+ Youth- 866-488-7386, www.trevorproject.org
o Hotline for LGBTQ+ youth, 24 hour and toll free
 GLBT National Youth TalkLine- 1-800-246-PRIDE (7743), www.glbthotline.org/talkline.html

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 o Hotline for LGBTQ+ Youth, providing telephone, online, and email support for peer
support and provides information and local resources for youth up to 25 years old

Local Resources and Organizations:

 PFLAG St. Louis: Parents, families, friends, allies-https://pflagstl.org/

o Support group locally established in 1977 for families, friends and allies of LGBTQ+
people in St. Louis. Chapter of national PFLAG groups.
 Promoting Equality for All Missourians (PROMO)- https://promoonline.org/
o PROMO advocates for LGBTQ+ equality across the state of Missouri.
 Metro Trans Umbrella Group (MTUG)- www.stlmetrotrans.com
o MTUG promotes visibility of transgender people in St. Louis, providing various
community resources, trainings, and advocacy. Run by transgender people.
 Growing American Youth- age 13-21 years old- http://www.growingamericanyouth.org
o Social group for LGBTQ+ youth.
 PrideCenter of St. Louis- https://pridestl.org/community/center
o The only pride center in the metro St. Louis region, with meeting spaces, a Cybercenter,
and an LGBTQ+ library

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 Appendix D
DQST Storytime Plan sample

Drag Queen Storytime- September 2017

1. Giraffes Can’t Dance- Andreae, Giles 2. Leonardo the Terrible Monster- Willems, Mo
3. The Wheels on the Bus- Cabrera, Jane 4. Hooray For Hat!- Won, Brian
5. The Duckling Gets A Cookie !?- Willems, Mo

Introductions:

Hello Everyone
Hello Everyone, hello everyone, hello everyone, it’s so nice to see you here
Hello children, hello grown-ups, hello everyone, it’s so nice to see you here!

If You’re Ready For a Story

If you’re ready for a story clap your hands! If you’re ready for a story clap your hands! If you’re
ready for some stories, if you’re ready for some stories, if you’re ready for some stories clap your
hands!
(stomp your feet, say oh yeah!)

1. Giraffes Can’t Dance- Andreae, Giles

Open Shut Them
Open, shut them! Open, shut them! Give a little clap, clap, clap!
Open, shut them! Open, shut them! Put them in your lap, lap, lap!
Creep them Creep them , right up to your chin chin chin
Open up your little mouth but do not let them in!

Bread and Butter

Bread and butter, marmalade and jam, let’s say hello as loud as we can! (Shout hello!)
Bread and butter, marmalade and jam, let’s say hello as quietly as we can! (Whisper hello)
Bread and butter, marmalade and jam, let’s say hello as fast as we can! (say it super fast)
Bread and butter, marmalade and jam, let’s say hello as slow as we can! Heeeellllloooo!

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 Bread and butter, marmalade and jam, let’s say hello as nice as we can! Heeeellllloooo!

2. Leonardo the Terrible Monster- Willems, Mo

Roll Roll Sugarbabies
Roll roll sugarbabies, roll roll sugarbaies, push and pull and clap clap clap!
Roll roll sugarbabies, roll roll sugarbaies, in and out and clap clap clap!
Can you roll them up high can you roll them down low
Can you roll them really fast, can you roll them really slow
Roll roll sugarbabies, roll roll sugarbaies, push and pull and clap clap clap!

3. The Wheels on the Bus- Cabrera, Jane

4. Hooray For Hat!- Won, Brian
You Clap and You Clap
You clap and you clap and you clap and you stop
and you clap and you clap and you clap and you stop
and you clap and you clap and you clap and you stop
and you clap and you clap and you clap and you stop!
(you hop, you wiggle, you dance, you sit back down)

5. The Duckling Gets A Cookie !?- Willems, Mo

GOODBYE EVERYONE
Goodbye everyone, goodbye everyone, goodbye everyone we’ll see you all next time!
Goodbye children, goodbye grown ups, goodbye everyone, we’ll see you all next time!

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 Appendix E
Sample Program Information Request

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 Appendix F
Sample Event Sheet

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Reed 45
 Table 1
Interview Question Table

Performer 1 Performer 2 Performer 3 Performer 4

1. How long 10 months, 10 years 7 years 9 years
have you been almost a year.
publicly
performing in
drag?
2. How did you Performer 1 was Recruited by the Recruited by the Recruited by the
get involved in recruited by library. library. library.
the program? Performer 2 Webster University Webster
held a DQST, and University
Performer 3 was an held a DQST, and
Alumni of Webster a Performer 4 was
University. an Alumni of
Webster
University.
3. Why did you When I was little I like kids and I Was a wholesome Educate, Empower
want to if there was a like drag and I place to perform and Entertain and
participate? thing called have friends who (unlike the bar this whole program
DQST I would have kids that scene). hit all three of
have thought that can’t come to the those head on.
it was the coolest shows …because
thing ever. they can’t always
come at night.
4. How did you I think it’s good I like it. I really like it. I think it’s
feel about the because they are Brings it to fantastic.
idea of DQST? younger can mainstream; also Encourages
can’t come to the has a say to what is diversity and
bars and it opens presented to inclusion, I think
up their eyes to a children about that it encourages
whole another LGBT culture. reading.
world.
5. What was As a storyteller As a storyteller As a storyteller As a storyteller
your level of performer twice. performer three performer three performer twice.
participation in times. times.
the DQST?
6. Did your I think that it Maybe some of the Lead to my position Interacts with
participation in made me like exposure…first at SLPL. children and their
this program kids more. time I saw my parents more.
have an impact name on NPR
on your which was cool
personal life? and powerful.

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7. If so what Fun trying to find Getting to show Lead to a position at Nothing additional.
type of impacts? what to wear for this part of their SLPL. Lead to a
kids. Different artistry in a private event.
clothing then wholesome
adults in the environment;
audience. different than the
bar scene
8. Was your Yes Yes Yes Yes
overall
experience a
positive one?
9. If yes please Favorite part was Liked doing things It was positive Yes, I was always
explain? meeting children different and fun. because it was a able to do voices
afterwards they new experience as a kid and got
were in awe. getting to read to picked on for it.
children and their Got to use that
caregivers. talent this in
venue.
10. If no please N/A N/A N/A N/A
explain?
11. Did you Challenge: Challenge: Success: A little boy Success: Had a
have any Watching my Waking up early. gave all the legit meet and
success or mouth (not curse) Not knowing what performers a little greet line. To have
encounter any and got hard to expect the first blue rose that I keep an actual line (like
challenges when books to read. time. in my drag bag. Santa at the mall)
offering the Challenge: very humble with
program? completely different that.
performing for Challenge: Not
children. Children sure if there would
are very honest and be protestors; also
frank, that was not sure about
nerve-wracking. holding my tongue
(cursing) but we
discussed protocol
for that.
12. Were you Pretty Pretty comfortable, Absolutely. Absolutely. All my
comfortable comfortable, I knew the kids Wonderful wigs are mostly
performing at started reading wouldn’t fire me. accommodations. unnatural colors. I
the library? the book; knew Used to getting did feel a little
the kids wouldn’t ready in a bar, we uncomfortable
yell at me. had a green room, feeding the meter
water and a security in my teal hair and
staff to escort us. dress. Getting to
And on a dedicated come into the
stage with sound library and hear
systems. my heels echo, it

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 makes me feel
really powerful.
13. Did you No Yes N/A No
want more
support from
the library?
14. If yes what N/A If there were N/A N/A
would that grants available to
support look pay people. The
like? financial aspect
isn’t needed for
me (had other
financial benefits
like being paid for
costumes in
another program at
the library). Some
up and comers
have said hey I got
paid to do that.
15. Do you Everything is N/A No changes. N/A
think that the good.
library should Green room,
make changes water, etc.
to better equip
performers for
this program?
16. What other All ages drag All ages drag Celebration of Trans and gender
LGBTQIA+ show. show. LGBT history diverse youth
programming Queer History Queer musicians. month on par with program.
would you Program. Black History
suggest for the Month. More
public library? visibility.

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