On the far reaches of Cave 1 on Elephanta Island off the coast of Mumbai, Maharashtra, is a five-metre-tall rock-cut relief sculpture of a queer figure carved meticulously into stone. Positioned to the east of the Sadashiva (or Trimurti) icon at the far wall of the cave, and surrounded by the gods and goddesses of the ancient Hindu pantheon, this is Ardhanarishvara — the stunning half-man, half-woman deity considered to be an androgynous form of Shiva and Parvati. In Hindu mythology, Ardhanarishvara represents the perfect balance between the divine masculine and the divine feminine — the destructive (represented by Shiva) and creative (represented by Parvati) forces of the world.

From mythological figures like Ardhanarishvara and classical performing arts such as Kathakali, Theyyam, and Yakshagana and folk theatre traditions like Chhau, and Jatra or Pala Gaan — where male performers would often play female characters — Drag culture has a long history in the Indian subcontinent. It sits at the intersection of artistry and spirituality.

Contemporary Drag culture in India, although largely shaped by modern, international influences, is rooted in these indigenous histories. Once relegated to the subaltern underbelly of India's conservative society, Drag is now very much a part of the mainstream — evolving from a subversive underground subculture into a vibrant and visible celebration of gender fluidity and multiplicity. Hyderabad-based Drag artist Patruni Sastry, who goes by the stage name SAS, has been at the forefront of this Drag renaissance.

"Since childhood, I have been captivated by the idea of dressing up as gods, particularly those embodying feminine energy," Sastry says.

Born into a deeply religious Hindu Brahmin family in West Bengal, spirituality had been an integral part of Sastry's upbringing. However, this connection was disrupted when they came to terms with their identity as a bisexual trans individual. "Navigating the dissonance between my faith and queerness led me on a journey of self-discovery, exploring Hinduism and other spiritual traditions through a queer lens," they say.

Sastry's exploration of faith and spirituality through their Queer identity culminated in the creation of Drag Me To Heaven — a podcast that delves into the spiritual journeys and faith experiences of Drag artists and performers from around the globe. Through profound, thought-provoking conversations with these extraordinary individuals, Sastry explores how they reconcile their spiritual journeys with their drag practices, uncovering stories that challenge global narratives that frame faith and queerness as incompatible. Each episode celebrates diversity, resilience, and Drag artistry in unique and unforgettable ways.

Sastry has interviewed over twenty exceptional Drag artists from across the world — artists like Bloody Kamina, a Dalit transmasculine person from India, who uses Drag to challenge caste barriers; Tifa Wine, from Trinidad & Tobago, who fuses Indo-Caribbean culture with anti-colonial resistance; Landa Lakes, a Two-Spirit Chickasaw Drag Queen from the USA; and Mama Ganuush, who uses Drag to amplify voices of the Palestinian resistance, showing how Drag can be an instrument for radical change.

A vibrant tapestry of these global Drag artists, their inspiring stories, and their relationship with faith, identity, and resistance, Drag Me To Heaven offers listeners a deeply intersectional perspective into contemporary Drag culture. Through these cross-faith conversations, Sastry also attempts to bridge the gap between queerness and spirituality and redefine the relationship between faith and Drag.

Listen to a preview of Drag Me To Heaven here:

Follow Patruni Sastry here.

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