About 12:30 a.m., we visited this place and found approximately 5,000 people, colored and white, men attired in women’s clothes, and vice versa. The affair, we were informed, was a “fag/masquerade ball.” This is an annual affair where the white and colored fairies assemble together with their friends, this being attended also by a certain respectable element who go here to see the sights.

This is an excerpt from a 1928 report filed by investigators with the Committee of Fourteen, a citizens group that fought to crack down on illegal alcohol sales inside New York City hotels. The investigators had stopped by a club in Harlem one night in February, unwittingly dropping in on a gender-bending bacchanal: the Hamilton Lodge drag ball.

Affairs like the Hamilton Lodge ball were a precursor to the modern ballroom scene, a performative, queer and largely African-American counterculture that still thrives in many U.S. cities, including Baltimore. The documentary Paris Is Burning captured the scene at its height in 1980s New York City, and Madonna — riding a wave of house music that soundtracked ballroom performances — got everybody voguing like a ballroom star with her 1990 hit “Vogue.”

Oct. 15, the Smithsonian’s National Museum of African Art celebrates ballroom culture with a half-day event dedicated exclusively to the art form. The featured guest is Keith “Ebony” Holt, a veteran ballroom performer who’s also a youth outreach coordinator for Baltimore’s health department. He represents the Baltimore chapter of the House of Ebony — essentially a clique, or a family, of gay black men who perform in ballroom competitions.

Bandwidth spoke to Holt and the Smithsonian’s Nicole Shivers in advance of Saturday’s soirée. The event promises to borrow a grandiose aesthetic from Nigerian-British artist Yinka Shonibare’s short film, Un Ballo in Maschera, on view now at the museum.

This interview has been edited for clarity and brevity.

Bandwidth: Keith, can you talk about what ballroom means to young, gay black men? 

Keith “Ebony” Holt: Ballroom, basically, was created for [them]. It was a place that we could call our own [where] we felt safe. [In ballroom,] you could be whatever it is that you wanna be. As we all know, when a lot of young, black gay males or transgenders come out to their families, sometimes their families are not with it. They may out them or they may be like, “We no longer want to communicate with [you].” And for a person that may be 15, 16 years old — or basically whatever age you are — that really hits you hard. So the ballroom scene … gave you another family outside of your biological family.

“With this event, we’re in one of the biggest museums in the world. Now our form of underground art is being welcomed into the mainstream.” —Keith “Ebony” Holt

OK, so the film Paris Is Burning documented the ’80s ballroom scene in New York. When we talk about ballroom now, what are we referring to?

Holt: We’re talking about the whole entire scene. Voguing, of course, gets the most attention because it’s fun to watch and you have people like Madonna that came out with it, or you have Vogue Evolution on America’s Best Dance Crew. However, it’s so many other categories — such as runway, or realness, which is basically how well a transgender person may be able to blend into society. Paris Is Burning … is kinda outdated. The younger generations definitely took it and made it their own. So it has completely, completely changed. It’s not the same underground scene that it once was in Paris Is Burning.

Do you still do a lot of performing?

Holt: I do perform. I still walk. Voguing really isn’t my category. My main category is actually runway. You can kinda look at it like Project Runway mixed with America’s Next Top Model. Runway at the Smithsonian [requires you to take] a piece of African art. It can either be a painting or a sculpture, and you have to make your outfit basically represent whatever art that you chose to create. It really takes a lot of time and it takes a lot of brain energy for you to really sit and really create something such as that. Then… you actually have to walk like a model would.

Nicole, why did the Smithsonian want to do a ballroom event?

Nicole Shivers, National Museum of African Art: As the curator for performing arts, I’m always looking for something new, innovative and engaging to dispel the myths, the clichés of Africa. Being a big fan of Yinka Shonibare and especially this video piece, Un Ballo in Maschera, which looks at the grandness of things, what better fit than to look at the ballroom scene, where they can show off and show out?

Can you talk about the African influence within ballroom?

Shivers: The traditional masquerade, or the traditional theater-in-the-round [are African influences]. Also, it’s a way of conveying a message [and] honoring someone, so I think those are the two main similarities.

Holt: And I think that with just the LGBT community, we wear so many masks on a daily basis, especially when we go out. So many people look down on the LGBT community for various reasons, so we have to put different masks on when we just walk outside our house. With this event, we’re in one of the biggest museums in the world. Now we can finally take our masks off and say that we are finally being accepted. Now our form of underground art is being welcomed into the mainstream. Even if it’s just for one night, it’s still the beginning.

The Voguing Masquerade Ball begins with a panel discussion at 4:30 p.m. at the Smithsonian’s National Museum of African Art. The ball starts at 7:30 p.m. Free and open to the public.

Shown at top: A still from Voguing For a Cause, produced by Great Big Story

There should be a term other than “old-school” to account for Escort‘s habit of approaching throwback sounds with the full weight of an institution rather than just the wisdom that comes with regular study. The New York band’s members presented themselves as vintage dance-music precisionists from the beginning, in 2006, with a meticulous disco style that could have soundtracked the coolest clubs in the ’70s. Their taste was sophisticated, their execution sharp.

The course continues on Animal Nature, the follow-up to Escort’s self-titled full-length debut in 2011 (and a slew of singles both before and after that). But the goal is more than just disco in a wide-eyed sound that peers out to stare down the many decades since. “Body Talk” opens the album in rapturous house-music mode, aligning with what disco turned into in the ’90s upon the arrival of classic acts like Masters At Work. Soul abounds in vocals delivered with consummate smoothness, and the fleshiness of the handclaps that accentuate the beat sound like the result of many hours in the studio. “Temptation” follows with a more futuristic rub, moving up to sleek electro-pop before “Barbarians” delivers the first full blast of old-school disco funk.

Escort was the closest thing we had to Chic before Daft Punk conscripted Nile Rodgers and effectively became Chic in a new, more robotic form. The guitar in “Barbarians” is evidence of how, but “If You Say So” does it even better, with glitzy elegance that aspires for a rich uptown-disco vibe. The difference between a great martini and a merely passable one makes for a good analog to the relationship between “If You Say So” and most of what gets classed as modern-day disco revivalism. Like the many other highlights on Animal Nature, it’s slick and stylish and light — clearly in thrall to the sound it revisits, but in a way that includes the important and unstudied process of getting swept up in the spirit of it all.

Copyright 2015 NPR. To see more, visit http://www.npr.org/.

There’s a good reason for that transparency: Eastman, a founder of U Street Music Hall, has spent much of 2015 clarifying who he is as an artist. He handed over day-to-day control of the now-landmark D.C. dance club in January to concentrate on making music, and “Sugar” marks the beginning of a new era, he says.

“It was a long-overdue thing,” he says. “U Street Music Hall sort of absorbed my entire life for the first five years of its existence. I love that place, and I’m very proud of it. But as a career move for DJs and producers, I’d say, opening up a club can be one of the worst things to happen to your music career.”

The new track isn’t the only big marker in the process. Saturday night, Eastman will DJ a six-hour set at his club (he’s still majority owner) to mark the end of Bliss, the party night he’s been running since 2000.

“I love [U Street Music Hall], and I’m very proud of it. But as a career move for DJs and producers, opening up a club can be one of the worst things to happen to your music career.” — Will Eastman

Bliss, with a history of blending of punk and dance music over the past 15 years, is considered a crucial element in the development of D.C.’s DJ scene. He started it partly because he thought D.C. needed it, but now that it’s ending, he hesitates to say what the city needs next.

“There’s a lot of things that I think could be done better. But I’ll leave that question to come back to later, because part of the process of what I’m doing now with ending this is to sort of free up my brain for fresh inspiration and new ideas,” Eastman says. “So maybe ask me again in six months when I’ve had some time to really think about it. I feel like nothing lasts forever. You shouldn’t try to drag every last ounce out of something that you can.”

As for “Sugar,” Eastman says it’s one of two tracks that he’ll release this fall as a ramp-up to an album next year. It’ll feature D.C. vocalists, but he won’t say who. “Sugar” is on Nurvous, a sub-imprint of legendary New York dance label Nervous. Eastman declines to specify which label will release the next track, but it’ll have a decidedly different vibe: “French house and big-beat sounds from the ’90s,” he says. The purpose is to channel the sounds he loved “when I was very young and first excited about dance music.”

His next single will be released under the name “Will Eastman.” He’s basically retiring the moniker Pentamon, which he’d been using on techno tracks over the last few years.

“I spent some time with that, and I sort of got that out of my system,” Eastman says.

Also, the trio that he formed with D.C.’s Micah Vellian and Outputmessage — Volta Bureau — is effectively on hiatus, he says.

“My attention had been divided for years. I spent all of my energy in 2011 and 2012 on Volta Bureau, and a lot of it in 2013 on Pentamon, and I got sick of dividing my attention,” he says. “I thought, ‘Well, what if I released all of this s*** under my own name — it might not all sound the same, it’s counter-intuitive in terms of a branding strategy … but that’s not how my brain works. I like to make disco, I like to make house, I like to make techno, I like to make ambient electronic music, and if people can’t wrap their brain around that, I’m tired of trying to brand to meet them.”

The good vibes in “Sugar” seem to spring directly from what’s inside Eastman.

“All of my tracks are optimistic tracks. I am a glass-half-full sort of guy,” the producer says. “Even if it’s a track that is sort of in a minor key or is sort of somber, everything is designed to be uplifting. And I firmly believe that music is better now than it was five years ago, and it will be better five years from now than it is right now.”

The final edition of Bliss takes place Sept. 26 at U Street Music Hall.

The compilation includes previously unreleased tracks from producers with ties to the D.C. region, including Outputmessage, Will Eastman, Nacey (of Misun, now in L.A.), Thomas Blondet and Wave Age, who also records as Caleb L’Etoile. For the most part, it’s sunny, accessible stuff that skews toward lightweight house.

Jake Komara — aka DJ Reed Rothchild — helped organize the compilation, which began percolating in February. That time of year “really got me thinking about summer,” Komara writes in an email. “I wanted to put out a music compilation that would capture the feeling of what it’s like to be in D.C. during the summer months. From brunches, to pool parties and rooftop afterhours, D.C. has a pulse during this special time of year.”

Though, at least one song on the collection has origins outside the party: Outputmessage (Bernard Farley) says his track, “Gladys,” is dedicated to his grandmother. From his Facebook page:

This song is particularly special to me. Last year, my grandma Gladys passed away after a long battle with lung cancer. Before she moved on though, she asked me to write her a song. I knew she wouldn’t want a sad song, but a song that was full of life and that’s how “Gladys” came about.

Stream District Summer below.

Flickr photo by William Neuheisel used under a Creative Commons license.