The strong stigmatization towards travestis and the sex work that they carry out generally conditions the service they receive from medical personnel.[143] Fear of rejection by health workers often leads them to self-medicate and to attend health institutions when conditions or diseases are already at very advanced levels.[144] Due to the strong stereotype towards travestis in relation to prostitution and HIV, they are usually automatically referred to HIV/AIDS centers every time they attend a medical center, ignoring their other health needs.[145][146] Even though the high prevalence of HIV/AIDS in travestis is real, it stems from a process of social exclusion that "ends up incarnating in travesti bodies and confirming the stereotype.
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In Spain, the term was used in a similar way during the Franco era, but it was replaced with the advent of the medical sistem of transsexuality in the late 1980s and early 1990s, in order to rule out negative stereotypes.[1] The arrival of these concepts occurred later in Latin America than in Europe, so the concept of travesti lasted, with various connotations.
Travestilerin birçoğunun en cesim imgesel yaşayabileceği yaşamını dirlik içinde devam ettirebileceği bir eve malik olmaktır. Birde istediği ve hülya etmiş olduğu şekilde bir eve iye olursa o ayrı bir devlet verir […]
Kulick analyzes the various ways travestis modify their bodies, explores the motivations that lead them to choose this particular gendered identity, and examines the complex relationships that they maintain with one another, their boyfriends, and their families.
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[187] Writing for La Diaria in 2020, Diego Sempol and Karina Pankievich pointed out that "the debates on the [Ley Integral nakit Personas Trans] were written in stone in the social imaginary and formatted trans memories in the public sphere," leading to the appearance of a series of testimonies that "broke a prolonged silence that put into discussion the recent Uruguayan past and the official accounts of istanbul Travestileri state violence [during the civic-military dictatorship]".[187]
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On the other hand, within the same extended community there is a clear interest in incorporating [travestis] and highlighting them as central characters in novels, plays and songs. Thus, we could say that around the figure of traveestis there is a recognition and a forceful attempt to put them in places of visibility, especially, by lesbian authors of novels and music for alternative young people."[80]
[150] Unlike the scandalous public attitude of travestis, transsexuals like Urbina showed themselves in television as sensitive and affected, qualities they most associated with femininity.[150] Another initial difference between the two groups is that travestis fought against police edicts and demanded their annulment, while transsexuals sought to be recognized bey women and to be registered birli such in their documents.[150]
Through Kulick's engaging voice and sharp analysis, this elegantly rendered account is derece only a landmark study in its discipline but also a fascinating read for anyone interested in sexuality and gender.
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[63] This little-documented phenomenon known as 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 derece understand that behind that bright facade there was a desire, the desire to be recognized and accepted in order to live in freedom."[63]