In Instagram’s description he says you’re “a nonbinary drag artist.” How many four-word expressions, no?
Don't believe, sometimes I have a confetti with that. It's logical to fall into the background or drag queer and queen male and female binary that we come from history, but we shouldn't continue to differentiate it that way. The drag queer movement emerged a few years ago, but today we talk about drag art, easier to understand. On the other hand, we must demand the spectacularity of the drag queen, because the representation of masculinity has its claim and is wonderful.

When and how did you decide to develop your own project?In adolescence
it was super-normative and heterogeneous. I started experimenting when I went to study in Vitoria. I bought wig and heels, and then I began to wonder: How can I be so shy in my day-to-day life and feel so empowered in a wig's dress? Maybe I'm a transita?

At that time, we didn't talk about trans identities, they didn't tell us anything at the institute. I was at ease with my body and inside queer theory I met nonbinary people, etc. In college, I decided it was a draga to show the world who it was. Draga allowed me to be what I wanted because society did not judge Eneko, but Albina. Albina teaches Eneko a lot and vice versa.

In Euskal Herria and Euskera, is there a drags net?
Yogurinha Borova, Divina Komedia and I do so in Basque. In Bilbao they are also born and we are increasingly. If necessary: Euskera generates closeness and assimilation.

For the new generations you are reference drags.
Because we are more familiar, we are no more referents, we are all referents.

For the Basque cultural scene it can be considered a revolutionary option. Does that aim?
Of course. I came out with a body an ikurrina made with sequins in my last show, for example. Or I've created high-heeled transvestites that have already become iconic. We can renew the Basque culture.

We are called by many txosnas saying they want something new, but in the txosnas or in the usual parties I have not found my place. We also need to have dinner and play with rock groups and join them. Drag artists, both women and nonbinary people, are creating a lot of things. Kai Nakai, Merina Gris or J Martina, for example.

Has the place of culture changed?
We can be richer, more varied. But fortunately, we're hearing more and more numerous and wonderful voices and styles.

What lack of culture to be liberating?Artists are not
missing, we are many and if we are more, better. What's missing is space, spaces that have real reflection. Organizers should not call LGTBI+ artists by appeal, but by will. What is it that organizes and wants to organize this space? This reflection is necessary. In June we were full of work and the vast majority of the actions took place in places where not much thought was given.

It was time that the transvestites also took places and centers. Protection or obstacle, what has felt the most in that path?
In general, protection. The troubling thing is that terf is getting stronger (“Trans-Exclusionary Radical Feminist” or “radical feminists who reject transactions”). However, we received great support and general interest, especially from the Feminist Movement.

You've also been on TV. Do screens help discover diverse identities?
With what objectives do they give us spaces? With the glasses of positivism, more and more dissident identities are seen on television and in every media.

To choose a concert or a special day, what?
Luma Trabesti Fest, no doubt. Last year we held the first transvestite festival in Euskal Herria and it was impressive. It is an historic day for me.

What does Albina dream of?
Value my art at the same level as other artists. Why aren't we nominated for Gaztea Awards or a giant festival? We're not all musicians, but we make music and we sing. They exclude us.