Marcia Ochoa

Queen for a Day connects the logic of Venezuelan modernity with the production of a national femininity. In this ethnography, Marcia Ochoa considers how femininities are produced, performed, and consumed in the mass-media spectacles of international beauty pageants, on the runways of the Miss Venezuela contest, on the well-traveled Caracas avenue where transgender women (transformistas) project themselves into the urban imaginary, and on the bodies of both transformistas and beauty pageant contestants (misses). Placing transformistas and misses in the same analytic frame enables Ochoa to delve deeply into complex questions of media and spectacle, gender and sexuality, race and class, and self-fashioning and identity in Venezuela. Beauty pageants play an outsized role in Venezuela. The country has won more international beauty contests than any other. The femininity performed by Venezuelan women in high-profile, widely viewed pageants defines a kind of national femininity. Ochoa argues that as transformistas and misses work to achieve the bodies, clothing and makeup styles, and postures and gestures of this national femininity, they come to embody Venezuelan modernity.

Transformistas, Beauty Queens, and the Performance of Femininity in Venezuela

Queen for a Day

Sharon Patricia Holland

Kyla Wazana Tompkins

Using the gut as a starting point, this special issue focuses on the idea of the visceral as a trope for the carnal and bloody logic that organizes life. It brings together scholars working in food studies, American studies, sexuality and queer studies, and critical race theory who are keen not only to understand patterns of bodily production and consumption but also to propose new theoretical scaffoldings for our understanding of the intersection of race, food, the human, and the animal. These essays highlight the moments, texts, and processes that link food, flesh, and the alimentary tract to systems of pleasure--as well as to historical and political systems of inequality. The contributors seek to unearth structures of feeling, sensing, and embodiment that have been obscured either by colonialist historiography or political prejudice.

Marcia Ochoa

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