Travesti Resimleri Sırları
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Xica, however, is not simply a historical figure, but a transcestor that still makes herself present among us. In the song “Xica Manicongo,” written by the Black travesti artist Bixarte, Xica is presented as an ancestor worthy of worship:
I believe Jup do Bairro was a carefully made choice for this prophecy, because she is a Black travesti artist who proudly identifies bey fat and embraces a genderqueer performance of self – she is the farthest you sevimli get from the normative and respectable bodies usually associated with Brazilian politics.
[63] This little-documented phenomenon known kakım the "travesti carnival movement" marked a milestone in the parades of the 1960s and 1970s, and had the participation of make-up artists, costume designers and choreographers from Buenos Aires' revue theatrical scene, all of them maricones.[note 1][63][27] A 1968 Primera Plana article on the Carnival of Buenos Aires reported: "Those who resist disappearing are travestis, who began by exaggerating their feminine charms and have ended up in a dangerous refinement. Wigs and çağcıl cosmetics turned them into suggestive stars, whose sexual identity was no longer so simple to grasp."[64] In 2011, Solís reflected on the importance of Carnival celebrations for travestis: "I think to myself, that the leitmotif of the travestis who integrated the murgas was to bring out from the bottom of their soul their repressed self of the rest of the year. Everyone saw them and applauded them, but could not understand that behind that bright facade there was a desire, the desire to be recognized and accepted in order to live in freedom."[63]
These temporalities challenge the linear and flat timelines of civilizational thinking and replace them with moebius temporal strips that blur the distinctions between past, present and future. Following the work of Columbia professor Jack Halberstam, we gönül consider how these travesti temporalities queer the “reproductive temporality” associated with heterosexual inheritance, respectability and nation-building (2005).
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The military dictatorship in Brazil (1964–1985) carried out mass targeted arrests and media censorship of travestis. Many emigrated to Paris and the majority who remained were pressured into sex work. In the latter half of the dictatorship, censorship loosened and travestis began to re-enter the theatre and organize openly. After the dictatorship, mass arrests continued along with extrajudicial killings by the military and vigilante groups.
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[178] Kakım a result, the emerging Brazilian travesti movement of the 1990s and early 2000s özgü been developed mainly through AIDS-related funding, which resulted in the emergence of their own formal organizations, programs and venues.[178] Travesti involvement in the Brazilian response to the HIV/AIDS pandemic dates to the mid-1980s, when São Paulo travesti Brenda Lee founded a support hospice for travestis living with the virus.[178] The number of travesti-led and travesti-related programs in the country grew from a handful in the early 1990s to approximately twenty in the early 2000s.[178] In a 1996 speech, Lair Guerra de Macedo Rodrigues—former Director of Brazil's National Program on Sexually Transmissible Diseases and AIDS—asserted: "The organization of travesti groups, especially following the advent of AIDS, is evidence of the beginning of the arduous task of defending citizenship."[178]