Xou da Xuxa

Xou da Xuxa was directed by Marlene Mattos, with Nilton Gouveia as the production coordinator. The program went off the air on 31 December 1992. The program's name, in Portuguese, is a play on the Portuguese word "sou", meaning "I am" and a Portuguese respelling of the English term "show" (Portuguese uses the letter "x" for the "sh" sound). This gives the name a double meaning, which can be understood as either: "I belong to Xuxa" or "Xuxa's Show." and Andrea Faria were two of the early "Paquitas", or stage assistants to Xuxa. The Paquitas were commonly dressed in clothes inspired by toy soldiers with white boots. Dengue (Roberto Bertin), who was portrayed as a huge mosquito with multiple limbs, and Praga (Armando Moraes), a turtle, contributed by livening the scene, helping the host and befriending the children. The program quickly became popular. Xuxa referred to children as "baixinhos" (little ones), and came to be called "Rainha dos Baixinhos" ("Queen of the little people" or "Queen of Children"). Her phrase "beijinho, beijinho e tchau, tchau" ("little kiss, little kiss and bye, bye") also became popular. Many products were launched under the Xuxa brand, including dolls, accessories and clothing. The clothing range led to a fashion craze for wearing white leather boots, as "xuxinhas" became popular among children and adolescents. == Impact ==

Ratings The success of "Xou da Xuxa" led to an effort to conquer international markets, with mixed results. The Argentina version of the program, El Show de Xuxa, was considered a success, reaching an estimated viewership of 33 million. The United States version, Xuxa, was launched in English. Xuxa's difficulty with the English language and cultural issues were cited among reasons for it lasting only one season. Critical reception Since its early days, Xou da Xuxa suffered intense questioning by intellectuals, politicians and journalists, who conflated criticism of the program and the presenter. An analysis offered by Riordan and Meehan of the reception of Xou da Xuxa, proposes differing cultural perceptions and attitudes toward the "sexiness" of the host, and her interactions with children on the show as one explanation for the show's failure to have cross-over success in the US. Shaw and Dennison cite this film in suggesting, like Riordan and Meehan, that different cultural perceptions toward sexuality between North and South America may have influenced Xuxa's success. Another reason offered was the differing programming lengths between the US and Brazil broadcasts. While the Brazilian version of the program aired for an hour per episode and was showcased for a full morning of airtime, only a 30-minute segment was selected for US television broadcast audiences, by television executives. A third rationale for the show's failure to take hold in North America is that Xuxa contradicted established perceptions in the US about Latin American women and beauty, because she is a light-skinned, blonde and blue-eyed Brazilian person. This fact of Xuxa's make-up, the rationale explains, presented a challenge toward Xou breaking into the US market. The common construct of Latin American ethnicity in the US runs counter to the concept of the existence of light-skinned, blonde and blue-eyed people being Latin American. While this construct represents a stereotype, it is offered as a reason for why other Latinas who fit the stereotype, such as Carmen Miranda, Rosie Perez or Jennifer Lopez have gained stardom in the US, while Xuxa did not. In essence, this line of reasoning argues that Xuxa was "too blonde" to be widely accepted in North America as a Latin American star. Awards • Troféu Imprensa - Best Children's Program (Won 1987–1993) == See also ==