In the past decades, a burgeoning literature has explored Asian nightlife as a key space for performing queer and racial subjectivities. Heteronormative bars and nightlife, like the underground Hip-hop scene, are often omitted from this literature, missing how these spaces shape not only queer performance but also complex processes of belonging. Drawing from ethnographic fieldwork in Manila in 2015, I analyze how queer Filipinx dancers transform circuits of competition into nurturing spaces in which to express alternatives to the colonial ties between racialized movement, aggressiveness, and masculinity on the dance floor. I suggest that Filipinx studies concepts are amplified by their articulation with Black studies, namely what Thomas DeFrantz conceptualizes as “queer corporeal orature” (QCO) (DeFrantz 2016). By highlighting QCO from a Filipinx viewpoint, I can analyze and explain articulations of “resistant queer failures and potentiality through non-normative expression.” I argue that Filipinxs use racialized movement as affective queer labor in the contexts of Hip-hop. By their disparate, yet connected approaches to repertoire and commercial industries, and against the backdrop of the struggle to pass the Philippine’s anti-discrimination bill, HB 4982, Sexual Orientation or Gender Identity or Expression (SOGIE) Equality Act, queer Filipinxs not only challenge the prevailing concepts of the “cypher,” or the social-cultural space of Hip-hop dance, as a Western, hypermasculine, and binary-gendered space, but also create and resolve tensions around the Filipinx dancing body as an agent of nation-building.