Drag queen Cedar T moves methodically to Bonnie Tyler’s “Holding Out for a Hero” on the Evolution Wonderlounge stage. As the beat quickens, Cedar drops into a split, thrilling the screaming crowd. Just when they think it’s over, the track transitions to a more obscure yet personal song, “Two-Spirit Anthem” by Bobby Sanchez. Cedar lip-syncs the lyrics, “Yes, I’mma stick to tradition, Indigenous wisdom and knowledge,” and somehow the crowd screams even louder — helping her secure a spot as a finalist in Alberta’s Next Drag Superstar.
A year later, Cedar — real name Kisik Whiskeyjack (of Saddle Lake Cree Nation) — is poised to take her act global with a United Kingdom tour alongside experimental Cree musician ASKO.
While Cedar has made a name for herself in Canada’s flamboyant drag scene, the two-spirit performer views her art as more than just “throwing on a little two-piece and doing some splits and dips.” Through conceptual playlists, choreography and fashion, she weaves Indigenous cultures into her artistry. This influence is most evident in her elaborate costumes, each of which can take up to a month to design and sew — and has a story of its own.
We asked Cedar to share inspirations behind each outfit.
“I love using symbolism; the satin-like snakeskin on this dress and the touch of rhinestones mimic the reflection of waves. I first wore it at Saskatoon Pride, and since the venue was by the river, I wanted to honour the water. It also honours Grandmother Moon, who represents femininity and where we come from — how we spent nine months in our mother’s womb. The jewellery is from Helen Oro Designs, a well-known Indigenous designer from Pelican Lake First Nations.”
“Mentorship and learning from other drag queens have been a huge part of my journey. Pheromone Killz is my Drag Mother, and the similarity between our garments honours that relationship with family resemblance. The story is about turning pain into something beautiful. Her crown is a gift from me — it’s the first one I ever beaded and honours all she’s given me. Both outfits are made from a four-way stretch material for the bodysuit, accented by Indigenous prints, with mine featuring a Kokom scarf and hers made of broadcloth.”
“In nêhiyawêwin, fire is a mixture of two words — iskwew (woman) and ohte (heart). Rhonda Johnson of Acahkos Designs created the custom garment to honour the love and warmth we receive from women. She incorporated masculine and feminine elements of fancy bustle and powwow dance outfits, including the ribbons found at the back of men’s regalia. It has some movement with the brightly coloured ribbons, while the sequins sparkle like flames. The garment reflects the teachings I received from my best friend, Sunshine Sakebow, on how to respectfully portray Indigenous womanhood in drag.”
“This is a collaboration with Matthew Simon of Day Child Traditional Clothing. I made the shirt, he made the ribbon skirt. I customize patterns, so they’re not cut and paste — and that’s the case here. It’s high-fashion Indigenous couture with satin, Ojibwe florals and rhinestone accents. I performed in it for a September gig to honour National Day for Truth and Reconciliation. The message is that we’re lucky to be able to break intergenerational curses — it’s a passion of mine, as I have a background in youth work and want to empower youth to embrace themselves.”
“Tishna Marlowe of Dene Couture created this dress, which I wore for Alberta’s Next Drag Superstar 2024 finale. It’s one of my favourites because it has a very high-end feel, and it’s custom fit for my boy body with adjustable sides for padding. Marlowe suggested the black fur, and I can wear it as a black pencil skirt since the back of the skirt is detachable.”
This article appears in the June 2025 issue of Edify
