Pride Month special: Patruni Sastry reflects on In Transit and the perception of drag art

A drag artiste, classical dancer, and storyteller from Hyderabad, Patruni Sastry, also known by their (preferred pronoun) drag name Sas Who Ma, brings together the elegance of traditional dance and the rebellious spirit of drag to create performances that explore themes of identity, queerness, and community. In In Transit, a docu-series that focuses on non-binary and trans narratives, Patruni shares their journey through self-discovery, offering a perspective on what it means to find your place in both personal and public spaces.

Visibility through In Transit

In Transit began as an uncertain project. “I think it started around 2023. Someone from a news organisation reached out to me to share my journey for a docu-film they were pitching. At first, I was sceptical because often docu-films focus only on popular narratives,” Patruni shares. But what began with hesitation soon evolved into a meaningful collaboration. The production team regularly met with them over several months, carefully listening and shaping the story. By December, Patruni was confirmed for the documentary, and the shoot happened over five days in Hyderabad.

At the time, Patruni’s partner was also expecting, adding some logistical hurdles, but the production team’s sensitivity and flexibility helped them see the project through. Despite their initial doubts about whether the documentary would ever be released, In Transit, directed by Ayesha Sood and produced by Zoya Akhtar and Reema Kagti under Tiger Baby Films, made it to the screen.

Opening up on camera wasn’t a difficult task for Patruni. In fact, the documentary felt like a gift. Patruni has always been open about their identity, but the release amplified their reach in unexpected ways. For years, they shouldered the emotional labour of repeatedly explaining their identity.

Rather than focusing solely on metropolitan centres like Mumbai or Delhi, the docu-series introduces viewers to trans individuals from underrepresented cities such as Pune, Hyderabad, and Agartala. This diversity of location reflects the richness and multiplicity of trans experiences across the country. One of the participants is a photographer and teacher from Agartala — stories like theirs rarely find space in mainstream conversations. Patruni’s own drag practice is part of this underrepresented narrative. “The type of drag I do is very anti-beauty. It’s an alternative kind,” they explain.

Who is Sas Who Ma?

Patruni’s drag persona, Sas Who Ma, is a loving yet radical homage to the revolutionary spirit of South Asian aunties who are seen as figures often dismissed as meddling and gossiping. “In our culture, aunties are powerful, they’ve lived through enough to know what’s right and wrong, and even when they gossip, they’re actually educating the community in subtle, important ways,” Patruni explains, adding, “I draw inspiration from legendary mother-in-law characters like Suryakantam and Chhaya Devi in Telugu cinema, Kokilaben from soap operas, and Manorama from Hindi films. By embracing such personas, my aim is to change the perspective about sexual bodies and feminine energy.”

Reimagining Indian drag

Patruni’s relationship with performance began at just five years old. Captivated by watching a character express anger through dance, it became their way of communicating feelings they couldn’t put in words. Over time, queerness naturally wove itself into their art. “There’s a belief that you can’t talk about queerness, sexuality, or gender in classical forms, but I broke away from those traditional ideas of dance,” Patruni says.

Explaining further, the artiste tells us that drag in India is not new — it has long existed in classical forms like Kuchipudi and Tamasha theatre, and in cultural rituals and street performances. “In India, drag cuts across classes and spaces; it’s not limited to elite clubs or niche communities,” they emphasise.

Patruni’s introduction to drag came at a Pride event in Bengaluru. Instantly drawn to the art form, they felt a deep urge to bring it to Hyderabad, where drag was still largely misunderstood and lacked dedicated spaces. Performing drag became a way to reclaim their gender identity, blending artistry, activism, and cultural resistance. “When I first wanted to perform drag, the only representation I saw was extremely feminised and highly stylised; most of it catered to elite club spaces, where drag was about entertainment and pandered to a certain class,” Patruni shares.

Most of their drag happened in public spaces like the streets or metro stations, where the angle of class is questioned — because in these spaces, drag moves beyond entertainment, it’s about identity and becomes accessible to everyone.

Coming from a middle-class background, their journey led them to tranimal drag, an avant-garde style that draws from performance art and anti-fashion movements.

The artiste also deliberately subverts beauty ideals by creating a persona that embodies an older figure. “Most drag artistes try to look younger, but I wanted to question how we visualise queer bodies, especially around age and beauty, once I started performing drag, it also helped me reclaim my gender identity.” By channelling an ‘auntie figure’ with Sas Who Ma, they want to move away from sexualised femininity and present it in a homely, grounded form.

Evolving trans narratives

Despite the growing visibility of drag and trans stories in India, Patruni still feels the weight of systemic inequality. For them, drag is often welcomed as entertainment but not always respected as work. “We’re still not paid equally. We don’t get the same opportunities or safety as cis artistes,” they explain. A DJ might earn a standard fee, but a drag performer is often underpaid and sometimes even harassed by the police. What’s usually celebrated is the version of drag that fits neatly into consumer spaces. “People like it when our art is colourful, fun, and easy to digest. But if we start questioning the system or performing in ways that make them uncomfortable, we get dismissed,” Patruni says.

For them, change isn’t just about being visible. It’s about dismantling the structures that continue to keep queer artistes on the margins.

However there has been a shift in perception. Patruni has observed how shows like Made in Heaven and Rainbow Rishta are starting to open people’s minds.

The change is happening in more personal spaces too. “Today, if I tell someone in my apartment complex that I’m a drag artiste, it’s not as hostile as it used to be. People know more now, thanks to the visibility in media,” they say. At the same time, Patruni wonders if this shift is mostly limited to cities. “I’ve seen the changes in urban spaces, but I don’t know if this representation has reached rural areas yet,” they reflect.

The growing representation has also helped them reshape their own understanding of queerness. “When I was younger, I thought queerness was only about being a gay man or a trans woman. Now I see so many identities that I can relate to. It’s made it possible for me to come out in a way that’s healthier for me.”

In Transit is streaming on Amazon Prime.

Email: anshula.u@newindianexpress.com

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