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Showing posts with label Thai Ladyboy. Show all posts
Showing posts with label Thai Ladyboy. Show all posts

Sexy Thai Ladyb...


The term kathoey or katoey generally refers to a male-to-female transgender person or an effeminate gay male in Thailand. Related phrases include sao (or phuying) praphet song ("a second kind of woman"), or phet thi sam ("third sex"). The word kathoey is thought to be of Khmer origin.[citation needed] It is most often rendered as ladyboy in English conversation with Thais and this latter expression has become popular across South East Asia except in the Philippines where the term Billyboy is sometimes used.

he term "kathoey" is not an exact equivalent of the modern western transwoman — it suggests that the person is a type of male, unlike the term sao praphet song, which suggests a female sex identity, or phet thee sam, which suggests a third gender. The term phu-ying praphet thi sorng, which can be translated as "woman of the second kind", is also used to refer to kathoey. Australian scholar of sexual politics in Thailand Peter Jackson claims that the term "kathoey" was used in premodern times to refer to intersexuals, and that the usage changed in the middle of the twentieth century to cover cross-dressing males. The term can refer to males who exhibit varying degrees of femininity — many kathoeys dress as women and undergo feminising medical procedures such as hormone replacement therapy, breast implants, genital reassignment surgery, or Adam's apple reductions. Others may wear makeup and use feminine pronouns, but dress as men, and are closer to the western category of effeminate gay man than transgender.

Kathoeys are often identified at a young age, and are considered to be "born that way". They may have access to hormones (available without prescription) and medical procedures during their teenage years.

The term "kathoey" may be considered pejorative, especially in the form "kathoey-saloey". It has a meaning similar to the English language "fairy" or "queen".

Kathoeys usually work in traditionally feminine occupations, in shops, coffee bars and restaurants, beauty salons and hairstylists. Many also work in entertainment and tourist centers, as dancers, in cabaret shows Alcazar and Tiffanys in Pattaya are among the best known or as prostitutes.

Kathoeys are more visible and more accepted in Thai culture than transgender or transsexuals are in Western countries or the Indian subcontinent. Several popular Thai models, singers and movie stars are kathoeys, and Thai newspapers often print photos of the winners of female and kathoey beauty contests side by side. The phenomenon is not restricted to urban areas; there are kathoeys in most villages, and kathoey beauty contests are commonly held as part of local fairs.

Some believe that this higher acceptance is due to the nature of the surrounding Buddhist culture, which places a high value on tolerance. Using the notion of Karma, some Thai believe that being a kathoey is the result of transgressions in past lives, concluding that kathoey deserve pity rather than blame.

Pattaya: Kathoeys on the stage of a cabaret show.

A common stereotype has older well-off kathoey provide financial support to young men with whom they are in a personal relationship.

Kathoey women currently face many social and legal impediments. Families (and especially fathers) are typically disappointed if a son becomes a kathoey, and kathoey women often have to face the prospect of coming out. However, kathoey generally have greater acceptance in Thailand than most other Asian countries. Legal recognition of kathoeys is non-existent in Thailand: even after genital reassignment surgery, they are not allowed to change their legal sex. Discrimination in employment and lending remains rampant. Issues can also arise in regards to access to amenities and gender allocation; for example, a kathoey who had undergone sexual reassignment surgery would still have to stay in an all-male prison.

In 1996, a kathoey education student murdered a young woman. This was followed by negative coverage of kathoey in the Thai press; the Rajabhat Institutes (teacher training colleges) then closed their doors to all kathoey.[citation needed] The decision was reversed after protests by homosexual and feminist groups.[citation needed]

Also in 1996, a volleyball team composed mostly of gays and kathoeys, known as the The Iron Ladies, which was portrayed in two Thai movies, won the Thai national championship. The Thai government, concerned with the country's image, then barred two of the kathoey from joining the national team and competing internationally.

Among the most famous kathoeys in Thailand is Nong Tum, a former champion Thai boxer who emerged into the public eye in 1998. She was already cross-dressing and taking hormones while still a popular boxer; she would enter the ring with long hair and makeup, occasionally kissing a defeated opponent. She announced her retirement from professional boxing in 1999 undergoing genital reassignment surgery, while continuing to work as a coach, and taking up acting and modeling. She returned to boxing in 2006.

In 2004, the Chiang Mai Technology School allocated a separate restroom for kathoeys, with an intertwined male and female symbol on the door. The 15 kathoey students are required to wear male clothing at school but are allowed to sport feminine hairdos. The restroom features four stalls, but no urinals.

Following the Military Coup in Thailand in 2006 kathoeys are hoping for a new third sex to be added to passports and other official documents in a proposed new constitution. In 2007, legislative efforts have begun to allow kathoeys to change their legal sex if they have undergone genital reassignment surgery; this latter restriction was controversially discussed in the community.

Revues and music groups

Following a similar group in South Korea, the first all kathoey music group in Thailand was formed in 2006. It is named Venus Flytrap and was selected and promoted by Sony BMG Music Entertainment.

The Lady Boys of Bangkok is a kathoey revue that has played at the Edinburgh Festival in 2006 and 2007 and also in several other cities in the UK.

Films

Ladyboys is a 1992 documentary film made for Channel 4 TV and directed by Jeremy Marre of Harcourt Films [1]. It relates the story of two teenage kathoey who prepare for and enter a rural beauty contest and then leave for Pattaya to find work in a cabaret revue.

The story of the 1996 Iron Ladies volleyball team underlies the humorous and successful 2000 movie The Iron Ladies and the 2003 sequel The Iron Ladies 2. The 1996 team and the movie inspired other kathoey in the nation to step up for themselves.

The 2002 Thai film Saving Private Tootsie tells the story of a group of gays and kathoey who need to be rescued after a plane crash in rebel-held jungle territory. The film explores anti-gay attitudes in various ways. It is loosely based on an incident in December 1998 when a group including a popular singer and his kathoey makeup artist survived a plane crash.

The life of the kathoey kick boxer Nong Tum is related in the 2003 movie Beautiful Boxer. Unlike The Iron Ladies 1 & 2, Beautiful Boxer used a serious tone.

In the 2005 Thai martial arts film The Warrior King or Tom yum goong, the main villain, Madame Rose, is a kathoey, and there are two references to this in the film (for the US release these were edited out). She is played by Jin Xing who is herself transgendered.

Books

The book Ladyboys: The Secret World of Thailand's Third Gender gives an intimate portrait of Thailand’s Kathoey. It is a collection of authentic stories about journeys of self-discovery by those who have struggled with gender identity while trying to maintain normal lives and careers. The book features some of Thailand's celebrity ladyboys such as Boxer Nong Toom as well as the life of others such as a magazine columnist, a cabaret performer and a prostitute. The book was written by Susan Aldous and Pornchai Sereemongkonpol and published in May 2008 by Maverick House Publishers.

Bangkok Calypso Ladyboy Show


Just as I make it to my seat, the stagelights flare up. "Good evening, ladies and gentlemen," announces a husky male voice in pristine Queen's English. "Tonight we present for you, the most beautiful ladies in all of Thailand..." A bold claim in a land renowned for its strikingly exotic women, I think to myself while getting acquainted with my complementary beer. This is going to be interesting.

And then there, knocking me out with her gaze and flawless features, is Orn - the first of many gender-straddling stunners to appear in the Asia Hotel's world famous Calypso Cabaret show. Midway through a sip, I nearly choke on her surreal beauty.

All the world's a stage...
Ladyboys, or 'katoeys' as they are known in Thailand, are a strange, rarely understood breed. With their overt gestures, extravagant clothing and often impetuous behaviour, they typically inspire fascination and revulsion in equal measure. For me personally, it was always admiration tinged with a smidgen of fear. I've seen them cat-walking the streets, marveled at the inner-strength - not to mention surgery - it must take to strut with such womanly poise. On the other hand, I've watched them in bars, baying aggressively at any man they take a shining to. Seeing them perform like this on the city's stage - Bangkok's streets - was enough. "Why bother with the crass spectacle of a ladyboy show?," I thought.

But as the curvy, statuesque Orn opens the show with a solemn 1940s solo number - while sporting her own tight little number - something in me switches. Cynicism fades into a dream-like state. The hypnotized crowd is putty in her ever-so-slightly manly hands. Or rather, I am. Though her miming is a tad off in parts, Orn too is having a ball, clearly relishing the spotlight. While her beauty may be artificially achieved, she's clearly a natural performer, not a freak-show. Unlike in the real world where, even in tolerant Thailand, many ladyboys encounter hardship and prejudice on a daily basis, up on stage she's a woman in control of her destiny, with dignity.


A celebration of divine divas
And it gets better. When she leaves, the show commences a breathless romp through different aspect of the female persona. No womanly trait is left untouched in pursuit of the crowd's enjoyment. Giving proceedings a delicious dose of camp are all the ingredients you'd find in the local pantomime back home: garish sets, liberal helpings of dry-ice, opulent costumes and liberal pinches of slapstick. But Cinderella this is not. And there's certainly no sign of the ugly sisters.

A sparkling pink number showcasing feathers, flawless show-girls and silky-smooth legs drifts seamlessly into a tacky, 1970s B-movie of a story about a jilted bride. Leading us to its inevitably tragic dénouement is a China-doll femme fatale with an unspeakably angelic face.

She slinks across the stage, becoming more murderous with every graceful step. Shedding her pure white bridal gown as if a skin, she reveals lethal intentions and an ample bossom. The music is menacing. Blood is spilt. Hell hath no fury like a ladyboy scorned seems to be the fearful message.

Simply the best!
Next up a comedy skit finds famous Portuguese-Brazilian 1940s starlet Carmen Miranda - played by an overtly camp man - parading around on puppet ostriches. The kid next to me is in belly-hugging stitches. A joyous storm of steps and beats then heralds in a pop medley extravaganza. Not one but three radiant Marilyn Monroe's blow their skirts, and a trio of the sassiest of modern women, Tina Turner, commandeers the stage while cheering 'Simply the Best!'

By now its clear - this show is a glittering, all-out celebration of the sheer fabulousness of the fairer sex. And some of the most iconic strong, inspiring women of the last century have come along for the party. Very fitting it all is too - surely the fiercely independent, unashamedly sexy ladyboy is right up there with say Madonna, the Spice Girls or Beyonce, and a worthy spiritual ambassador for Girl Power? It doesn't stop there...

A frenzied five-song medley in tribute to the legendary American-French dancer and singer, Josephine Baker, kicks up a storm. Probably similar to the one the great lady herself did way back in 1920s Paris. Husky gals jive away to bebop in banana skirts, and the crowd goes wild. More high-pitched squeals of delight rise from the kid next to me.

A comic skit then toys with the coy mannerisms of the meek, but devastatingly alluring Geisha girl. And my heart melts as three towering Thai goddesses emerge from an ancient, mist shrouded temple to give the graceful gestures of Khon, Thai classical dance, a modern Calypso twist.





Something for the whole family
Contrasting with these spell-binding Far Eastern enigmas, are musical extravaganzas reminiscent of the Broadway show. Things go all cabaret on us with a rip-roaring stage filler set to Chicago's 'All that Jazz', and a stomping flamenco workout has dashing Don Juan's beating guitars, while a tale of gang-warfare inspired by love and jealousy plays out.

And for the knock me dead finale it's all big hands on stage. The entire cast of showgirls, silk-gowned divas and glittering Fred Astaire's stomp, strut, wink and pout for a fitting send off that firmly seals our adulation.
The energy and gusto of these enticing, polished performances confirm it - ladyboys love a stage. However, unlike Bangkok's sometimes unforgiving streets, here at Calypso the stage loves them back. Come and so will you. Woman will beam throughout with sisterly pride. Children will laugh uncontrollably like my little friend this evening. And men will leave as I did – dribbling and asking themselves a few deep and meaningfuls.

    












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