Gender performance and migration experience of Filipino transgender women entertainers in Japan
Gender performance and migration experience of Filipino transgender women entertainers in Japan
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DOI：
10.1080/26895269.2020.1838390
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发表时间：
2020-11-05
影响因子：
4.6
通讯作者：
Okada, Tricia
中科院分区：
文献类型：
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作者：
Okada, Tricia
背景：在日本的菲律宾跨性别移民工人的许多未被代表的故事对于菲律宾跨性别女性争取知名度的斗争具有重要意义。目的：本研究旨在探讨移民和性别表现如何影响日本的菲律宾跨性别女性或跨性别艺人的性别肯定。方法：本研究采用扎根理论的定性方法，通过马尼拉、宿务和日本的参与者观察和半结构化访谈收集 2012 年至 2018 年间的数据。通过滚雪球抽样和与 LGBTQ 群体的联系，14 名参与者分享了他们的故事，内容围绕他们的背景、性别认同、签证和工作申请流程、娱乐工作以及移民之前、期间和之后的关系。 结果：跨性别者的移民经历对他们在日本和返回菲律宾时的性别肯定产生了影响。跨西班牙艺人移居日本不仅是出于经济原因，也是出于经济原因。她们还寻求性解放。在移居日本之前，他们协商自己的性别认同，以通过试镜并申请艺人签证。在她们的移徙过程中，性别的作为和取消与她们作为菲律宾跨性别女性和移民工人的交叉从属身份交织在她们的生活中，从而导致了交叉的隐形。她们作为菲律宾跨性别女性的艺人形象是性别表演和种族的体现。 Transpinay 艺人多次回国或选择留在日本，因为他们在祖国被边缘化。结论：Transpinay 艺人为强调他们的性别表现和移民经历的时间方面提供了一个重要的案例，其中他们对娱乐工作的承诺随着时间的推移而变化。日本的移民经历表明，他们的性别确认取得了积极的成果，但这并不一定会导致性别确认手术。
Background: Many unrepresented stories of Filipino transgender migrant workers in Japan are significant in Filipino trans women's struggle for visibility.Aim: This study aims to explore how migration and gender performance influence the gender affirmation of Filipino trans women or transpinay entertainers in Japan.Method: This study draws on a qualitative approach using grounded theory to collect data between 2012 and 2018 through participant observations and semi-structured interviews in Manila, Cebu, and Japan. Through snowball sampling and ties with the LGBTQ community, 14 participants shared their narratives that revolved around their background, gender identity, visa and job application process, entertainment work, and relationships before, during, and after migration.Results: The transpinays' migration experience is influential in their gender affirmation as in Japan and upon their return to the Philippines. The transpinay entertainers migrate to Japan is not solely for economic reasons; they also seek sexual emancipation. Before moving to Japan, they negotiate their gender identity to pass the auditions and apply for an entertainer visa. During their migration, doing and undoing gender is woven into their lives with their intersecting subordinate identities as a Filipino transgender woman and a migrant worker, resulting into an intersectional invisibility. Their entertainer profile as a Filipino transgender woman is an embodiment of gendered performances and ethnicity. Transpinay entertainers returned several times or chose to stay in Japan because they were marginalized in their home country.Conclusion: The transpinay entertainers provide a significant case for highlighting the temporal aspect of their gender performance and migration experience, in which their commitment toward entertainment work transforms over time. The migration experience in Japan indicates a positive outcome in their gender affirmation that does not necessarily lead to gender confirmation surgery.