Fees
The below recommendations are relevant to drag that is unsupported by public funding. Funded drag should be paid according to the Bundesverband Freie Darstellende Künste guidelines. They are intended as a bare minimum and venues should be prepared to negotiate higher fees for more experienced performers
Capacity
For venues with a capacity of up to 100 people, a minimum fee of 200€ is recommended. For a capacity more than 200, the fee should be 300€. If tickets for an event with a large capacity sell particularly well the organiser should add an additional amount to the base fee of 300€. A minimum fee of 350€ is recommended for moderating a show. For corporate gigs (i.e. organised by companies rather than community organisers) an absolute minimum fee of 500€ is recommended regardless of capacity. For corporate gigs 50% of the fee should be paid in advance.
The first payment covers preparation, the second the performance. Drag artists performing other tasks than shows should be paid accordingly for their time and effort in getting into drag, as such we recommend paying the equivalent of a performance fee at least. We recognise that drag shows are a lot of work to organise and that these fees might be a challenge in some situations. One strategy to make them possible could be to reduce the number of performers and ask artists to do an extra number. This would help to avoid a situation in which artists are working all the time for too little money.
Community Venue Fee
We acknowledge that no small community business is getting rich off drag and in such cases we're willing to work together in good faith with small venues to help make these guidelines achievable. Because of this, we accept a minimum fee of 150€ for small community drag venues until the end of June 2025, at which point we recommend 200€ as the minimum.
Door cover
Venues and promoters should set realistic and sustainable door prices that balance the actual costs of producing drag shows with the needs and finances of the community that enjoys them. This should be at least the equivalent of one hour of the minimum wage (12.41€). We acknowledge that this can be a difficult balance, but we encourage promoters to consider the impact of unrealistically low door prices on the broader scene.
It is important that audiences understand the value of the shows they are enjoying. A model of offering solidarity tickets, where those with more money pay more and thereby offset free spots for those who can't pay is one alternative to setting a blanket price that is too low.
Another model can be to offer free entry via prior arrangement to audience members who don't have funds. Or a sliding scale that starts at the minimum (12.41€). If a venue wishes to offer a free drag show, it is essential that this is accompanied with the proper payment of the workers involved from the venue's own resources.
Tips
In general the fee for a show featuring professional performers should come from the venue or through door sales. Tips should not be used to pay performers' fees as this transfers the financial risk from the event organiser to the performers. Exceptions can be made for shows featuring only hobbyists, but a door fee or venue sponsorship is considered best practice.
Cancellation fees
If a booking is cancelled by the venue within 14 days of the event a cancellation fee of 60% should be paid by the venue. If the booking is cancelled within 48 hours, full payment should be made to the artist. If a performer is sick on the day of the show they should receive 60% of the arranged fee, and one of the performing artists should, if possible, cover for the absent artist with an extra number.
The covering performer should receive the other 40%. (This system can only work based on honesty and trust. DRAG Berlin does not recommend surveilling artists to ensure they're telling the truth, however word always goes around and artists who abuse this trust are likely to lose the confidence of bookers). Performers should inform the venue or promoter as soon as they realise they are too unwell to perform (at least four hours). This allows others to make arrangements to cover the absent performer.
Timeline for Payment
Full payment of invoices should be made within 14 days of submission
Transparency in communication of fees
Communication among performers regarding fees and conditions is an integral part of maintaining fair and safe work practices. Promoters and venues cannot require performers to keep financial arrangements secret.
Fundraisers
Drag has a long and proud tradition of fundraising for worthy causes. DRAG Berlin supports the practice of performers donating their time and skills to events raising funds as long as no one is drawing a profit from the event. However the basic conditions outlined below should be maintained.
Conditions
Backstage
Promoters/venues should provide a clean, dry and warm area for performers to get ready. Ideally this will include a mirror and space to hang costumes. If this isn't possible, taxi fares should be subsidised. This is particularly important for our industry as public space at night time is often unsafe for people in drag or who are visibly gender non-conforming.
Soundcheck
Where possible the venue should provide the space for a rehearsal and sound check with the technical set up at no cost.
Contract / Invoiced / Cash in Hand Labour
Payment through invoice should be offered by the event organiser or venue. However individual circumstances can require payment by cash and in such case this should be offered where possible.
Promotion
Promoting an event should be a joint effort between the organiser/venue and the performer. It is the responsibility of the organiser/venue to produce promotional material for the show. It's ok to ask performers to share material, but it is not their job to design promotional flyers and other advertising material and this responsibility should not be delegated to them.
Disability Access
(Performer & Audience)
Germany is a signatory to the UN Convention on the Rights of Persons with Disabilities and according to article 30 of the convention the state must 'recognize the right of persons with disabilities to take part on an equal basis with others in cultural life, and shall take all appropriate measures to ensure that persons with disabilities... enjoy access to television programmes, films, theatre and other cultural activities, in accessible formats' as well as 'take appropriate measures to enable persons with disabilities to have the opportunity to develop and utilize their creative, artistic and intellectual potential, not only for their own benefit, but also for the enrichment of society.'
So far the state has not put any great effort into supporting disability access in drag, however venues and organisers can remove some barriers without state support by following the R.A.S.H. method outlined by Oozing Gloop (see resources for the full presentation). We can be:
Realistic
Without funding we can't provide meaningful access to everyone, but we can provide it for some people by acting thoughtfully.
Aware
We can research what disability access means and how it can happen in drag spaces. We can also be open and receptive when the issue is raised with us.
Smart
We can follow in the grand tradition of drag by making something meaningful with few resources. Being smart is about finding fully realisable strategies that deliver the most effective resolution to the disparities experienced by disabled people within the scope of the event. Organisers and venues can make access information clearly available. Providing extra rehearsal time in the venue for disabled performers can usually be arranged for free. Ear plugs can be provided for little cost, and events where the audience is masked are another possibility.
Honest
We can be clear about what access we can provide and to what extent so that disabled audiences and performers can make their own informed decisions about participating in the event. We can also be honest and reflective when disabled people raise concerns about barriers to access that they are encountering.
All promoters, venues and performers have a responsibility to foster a scene that actively works to build solidarity in the face of a broader culture plagued by homo- and transphobia, sexism, capitalist exploitation, racism, ableism, etc. This rejection of the ideologies of domination must be part of an ongoing and self-reflective process. When raising a concern, it is best to speak to the individual or group privately at first. When receiving feedback, it is important to remain calm, listen, and avoid becoming immediately defensive.
Our industry is comprised of people who work fulltime and pay their rent from drag, those who have additional employment in other fields, and those who are living their fantasy and developing creative skills while drawing their entire income from a day job. A healthily functioning drag culture requires a combination of all three of these approaches. Paying minimum fees and providing the recommended base line conditions creates a more sustainable and safe industry for us all. All of these different performers require the same sustainable and safe conditions. Any variation in basic fees should depend on the venue and its capacities (as outlined above) rather than experience or position in the scene.
If you are a new performer in the scene and you're unsure of a fee or conditions being offered to you, please reach out to DRAG Berlin for free advice. We want everyone to have fair and safe work conditions and that includes you!
Doing drag in other industries/spaces/contexts
Drag performers are increasingly being invited into other cultural spaces (theatres, galleries, advertising etc.) In such a situation the minimum fees and conditions of that industry must be upheld. Drag artists do not need more exposure. We need more money. Drag artists negotiating conditions in industries that are new to them should ask around for advice before accepting any fees or conditions. Feel free to contact DRAG Berlin if this is you!
