Argentina , away from the police. An important historical source of information on the travesti community during the 20th century are the firsthand accounts of Malva Solís, who emigrated from Chile as a teenager and lived in Argentina until her death in 2015, at the age of 93. She was regarded as the longest-lived travesti from the country. After collecting testimonies from travestis over the age of seventy, Josefina Fernández found in 2004 that most of them regarded the first period of
Juan Perón's government—who ruled
Argentina from 1946 to 1955—as "the one that most clearly began the persecution of
gay men and travestis, whether or not they practiced street prostitution." The prison was a recurring meeting point for travestis and continued to be so until the 21st-century. As a travesti from Buenos Aires recalled in 2019: "They were 6 days of freedom and 350 in prison. I'm not exaggerating. So it was for us. This is how it was before and after
the dictatorship, even worse after the dictatorship. Those days it was something magical: because from being discriminated against we would turn into diva-like. If there were no travestis in a carnival parade, it seemed like something was missing." According to Malva Solís, two travestis from
La Boca's carnival parade named Cualo and Pepa "La Carbonera" pioneered of the figure of the "
murgas
vedette", an innovation that began around 1961. 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." Her show paved the way door to later performances by local travestis. Solís told researcher María Soledad Cutuli in 2013:Beginning with Coccinelle (...) there is a whole opening, something new that is coming. A lot of 'siliconized' [performers] came, plastic surgeries; social openness, (...) new opportunities for
mariconas, 'the travesti artist' is inaugurated. (...) From then on a new way of life opened. (...) The culture of the
puto artist, all of them were already walking around with cotton stuffing to make their breasts, and they were already going out to sing, to dance... Around 1964, travesti artists—at that time named
lenci, in reference to a type of cloth, because they "were like little rag dolls"—met at an apartment on
Avenida Callao, where they rehearsed musical acts and prepared to go out to nightclub or theater shows. She also mentioned the travestis of the "following era", which included Graciela Scott, Claudia Prado and herself, who debuted in 1975. After Evelyn there was a fifteen year period of suppression for the community due to military persecution. The arrival of industrial silicone in Buenos Aires radically transformed travesti bodies and subjectivities. In the 1980s, famous actress and vedette
Moria Casán became a role model for local travestis, not only for her voluptuous body, but also for her public image of sexual ease. In 1986,
Canal 9 journalist José de Zer reported, and at the same time denounced, the murder of travestis working on the Pan-American Highway. Due to the television report, both the journalist and the channel were sued and faced trial, and travestis had to organize themselves during the following years so as to make their ignored identity appear in the mass media. and their first appearances on television coincided with the organized appearance of the travestis on the public scene and in the streets of Buenos Aires. As the first travesti to become a national celebrity, she is regarded as a symbol of the social milieu of the 1990s and paved the way for other Argentine travestis and trans women to gain popularity as vedettes, most notably
Flor de la V. In November 2007, the first issue of
El Teje, the first periodical written by travestis in Latin America, was published in a joint initiative between activists and the Ricardo Rojas Cultural Center. By the late 2010s, the travesti community of Buenos Aires and its surroundings gained recognition for its creative and artistic contributions, and had inserted itself in the "queer
countercultural scene", a circuit of theaters, bars, and cultural centers such as Casa Brandon, Tierra Violeta, MU Trinchera Boutique and, more recently, Feliza and Maricafé. It focuses on the lives of a group of travestis from
Córdoba, Argentina and their work as prostitutes at
Sarmiento Park. However, Sosa Villada has denied that the book was conceived as an act of activism or visibility, claiming that focusing discussions about travestis around marginality and sex work silences their current cultural contributions to society. The ongoing editorial success of
Las malas has sparked interest in local
transgender literature, and has been framed within a so-called "new
Latin American boom", while several non-male authors from the region have captured the attention of the international market. With the onset of the
COVID-19 pandemic in Argentina in March 2020, travestis were one of the groups most affected by the
lockdown, since most of them rely on prostitution for income, that they were then left without. In many cases they were under threat of eviction from the hotels where they were already paying elevated prices. In 2021,
Flor de la V, a transgender Argentinian celebrity, announced that she no longer identified as a trans woman but as a travesti, writing: "I discovered a more correct way to get in touch with how I feel: neither woman, nor heterosexual, nor homosexual, nor bisexual. I am a dissident of the gender system, my political construction in this society is that of a pure-bred travesti. That what I am and what I want and choose to be."
Brazil Anthropologist
Don Kulick noted that: "Travestis appear to exist throughout Latin America, but in no other country are they as numerous and well known as in Brazil, where they occupy a strikingly visible place in both social space and the cultural
imaginary." For this reason, they are frequently invoked by social commentators as symbols of Brazil itself. One of the most prominent travestis in the Brazilian cultural imaginary of the late 20th century was
Roberta Close, who became a household name in the mid-1980s and was "widely acclaimed to be the most beautiful woman in Brazil," posing in
Playboy and regularly appearing in television and several other publications. Historically, Brazilians used the word to denominate travestis, which is now considered a transphobic slur. In recent years, hiring trans women has become popular in the
advertising industry, although at the same time differentiating them from transvestites. A 14-year-old teenager, Mario Luis Palmieri, had been found murdered and the hypothesis held by the police was that of a homosexual
crime of passion, unleashing one of the most famous persecutions of LGBT identities in the history of Paraguay. Paraguayan travestis use a secret language called
jeito—originated in the field of prostitution— to protect themselves from clients, the police, or any person strange to the places where they work and that threatens the security of the group. Some of its words are
rua (street),
odara (the travesti head of a prostitution area),
alibán (police), and
fregués (clients).
Uruguay Gloria Meneses lived openly as a travesti from the 1950s and was known as "the mother of travestis".
Spain The arrival of the medical model of transsexuality was earlier in Europe than in Latin America, and therefore its impact was different in each region. ==Academic research==