Judavar, Auriz Final Paper Theatre 103

Quiapon, Aureen Mae A. Prof. Oscar Serquina

Parreno, VJ

The Changing Face of Beauty:

Towards the Inclusive Evolution of Miss Universe

Introduction

It has become an unofficial Filipino tradition to look forward to the annual Miss
Universe pageant because of our candidates. It is even an understatement to declare that
Miss Universe is one of the country's national obsessions (Guinto & Regalado). The likes of
Pia Wurtzbach and Catriona Gray, both crowned as winners of Miss Universe in their
respective years, have become big reasons for Filipino pageant pride. However, the
COVID-19 global pandemic has affected even the pageant industry. With this, ParoDivas, five
Filipinos behind the YouTube pageant parody channel, have taken things into their own
hands by bringing us their own version of the famous competition: Miss Universe 2020,
Quarantine Edition. They have now released two videos and they have garnered large
traction both in the Philippines and even abroad.

ParoDivas is a parody group composed of five openly-out gay men from Mexico,
Pampanga representing different countries. Specifically, these are Ariel Tanhueco for
Indonesia, John Edison Macabali for Thailand, Carlos Miguel Macabali for the United States
of America, James Ian Macabali for Venezuela, and MJ Macabali for our very own
Philippines. The group has been creating parody videos since 2016 and this was the perfect
opportunity for them to create new content with the postponement of the annual Miss
Universe which they are also supporters of. That said, they recreated the pageant with its
various segments Filipinos have always anticipated. From the swimsuit, national costume,
and evening gown categories, all their costumes and gowns were extravagant and
intricately made. Aside from this, they even recreated the highly awaited question and
answer portion which focused on the COVID-19 pandemic and mental health awareness by
asking the questions: “What is the lesson you have learned from this pandemic?” and “What
message [do] you want to give to someone who is depressed?”, respectively.

All this in mind, in this paper, the group aims to answer the following questions:

1) Is the Miss Universe, Quarantine Edition attempting to espouse or rely on some truth,
idea, or position that is present in today’s society?;
2) Does ParoDivas run with or against gender assumptions that may affect the
audience's perception of the piece? Does their sexual orientation and gender
identity and expression (SOGIE) matter?; and
3) What is the relation between the concept of Miss Universe, Quarantine Edition and
the ParoDivas’ materialist conditions? Does this support or subvert the status quo?

To do this, they will make use of three (3) primary approaches–specifically, they will
analyze the piece using Deconstruction, Gender Theory, and Materialist Theory. Specifically,
they will first deconstruct the performance itself and the medium that it emulated,
pageantry. Then, Gender Theory will be used in order to analyze the performance as a piece
that expresses one’s sexual orientation and gender identity expression (SOGIE) and how
the performance is a way to encourage people to be confident of sexual orientation and
gender. Lastly, the group will apply Materialist Theory to analyze how Miss Universe,
Quarantine Edition cements itself as proof that popular culture develops to speak against
the status quo.

This is a piece the group aims to analyze because, during these times, online media
has been extremely popular to consume. As the pandemic forced us to stay inside, more and
more people rely on YouTube and TikTok for their entertainment needs. However, popular
media can be a catalyst for thought-provoking performances. In this age of media being
disseminated through popular video-hosting sites and social media, a performance like Miss
Universe, Quarantine Edition is able to use relevant and popular humor to reel in audiences
and introduce them to a community.
Methodology

From the understanding that the performing actor is an opaque medium, an

intertext, not a simple text to be read for “content,” we arrive at our perceptions of a
performance by implicitly comparing it with other interpretations of some role or with the
way we feel the role should be played, or with our recollection of the same actor in other
roles, or with our knowledge of the stylistic school to which the actor belongs, the actor’s
private life (Auslander). This is no different in the case of Miss Universe, Quarantine Edition.
Their performance shows support for the world of pageantry and how they really
appreciate and embody their role and their interpretation is beyond anything that they can
bring happiness and joy. The purpose of beauty pageants is not just to flaunt one’s beauty
or gain self-confidence but also to raise awareness for various societal issues. In the case of
ParoDivas’ performance, there are ultimately more layers to unravel and understand as we
bring into the table the ideas of poverty, LGBTQIA+ (Lesbian, Gay, Bisexual, Transgender,
Queer, Intersex, Asexual, and Others) issues, and the COVID-19 pandemic. With that in
mind, the group aims to analyze this artifact to show the different societal implications it
may have.

For the analysis, the theories they will be combining are Post-structuralist
Deconstruction, Gender Theory, and Materialist Theory, as the group believes that these
theories are appropriate for the analysis. They will do so by deconstructing the
performance to analyze how it parodies an existing form of art and create another meaning
from it, then apply Gender Theory by contextualizing the performance in a Philippine
setting. Through Gender Theory, the group will explore how the LGBTQIA+ community is
being perceived in the country while interjecting cultural norms that revolve around the
interaction with them. This will give a better understanding of how the performance is an
example of how the LGBTQIA+ community can take control of their respective SOGIE as
individuals. Lastly, Materialist Theory will be used in order to explore the materialist
conditions that are created by the change in their actual environments, contributing to the
performance’s creative process, message, and overall look. The theory will also be used to
explore how their content is in-line with the challenges they faced during the pandemic as
members of the LGBTQIA+ community and as individual Filipinos.
 The process for analyzing the two-part series starts with watching the videos
numerous times in order to have a better understanding. Afterward, they will use Mark
Fortier’s book, Theatre/Theory, as the base resource for all the group’s theories while
branching to journals and books for reference. Then, the group will also make use of online
articles to further supplement the analysis. Overall, the process relies on using
Theory/Theatre as the base then complimenting it with other academic resources, while
using online articles to make the analysis more fruitful and concrete.
Results and Analyses

Pageantry is a social activity that is present in many, if not all, countries worldwide.
Whether beauty pageants are significant events or are unimportant vanities to you, it is
undeniable that to its followers, these are avenues for selecting an individual who best
represents the entity organizing the pageant being held. In the past years, Filipinos have
grown to be big supporters of these international pageants—specifically, Miss World, Miss
International, Miss Earth, and of course, Miss Universe—which have made their mark and
established influence to be known as the Big Four pageants. With this, many individuals
have aspired to be title holders themselves—not just women but also those who are part of
the LGBTQIA+ community. An example of this would be ParoDivas who have made their
own rendition of the pageant on their YouTube channel.

With this in mind, the group aims to analyze different factors that have led ParoDivas
to create such content and how it may affect their viewers. To do this, we must take a look
into this piece using the three (3) different lenses presented below:

Deconstruction

In order to deconstruct the performance, the medium which it parodied must be

analyzed first. The organization handling these international beauty pageant competitions,
Miss Universe Organization, celebrates women from all over the world, no matter the
culture and background, and the competitions under their belt (MISS UNIVERSE®, MISS
USA® and MISS TEEN USA®). They also provide women with an international platform to
“affect positive change personally, professionally and philanthropically as inspirational
leaders and role models” (“About”). The age requirement spans from 18 to 28 years old, and
they are looking for a “young woman who is comfortable in her own skin, authentic,
empathetic, and determined to make her mark in the world” (“”HOW TO APPLY”).

However, even though they did not specify, it can be assumed that they prefer cis
heterosexual women based on their track record. Nonetheless, the competition has become
more inclusive after Miss Universe Spain 2018 Angela Ponce made an impact as being the
first transgender woman to be part of Miss Universe, with other organizations from South
Africa and the Philippines making strides in being accepting to contestants that may belong
in the LGBTQ+ community (Bracamonte, “Beauty Queens Divided”).

What does this mean for the performance? This information allows us to see a
deeper meaning beyond the veil of entertainment. Seeing it at face value, Miss Universe,
Quarantine Edition is a satire and comedic take on the competition, focusing on
entertainment rather than making a statement. Or is it? If we look at it using a Structuralist
lens, which works “systematically and scientifically to analyze the abstract patterns on
which various cultural activities are supposedly based” (Fortier 58), the two videos would
just be examples of how the queer community can create something comedic, entertaining,
and widely accepted. It is a simple performance that is popular and funny, which should be
the end of it, as they didn’t probably plant any subliminal message that speaks against the
status quo.

However, the performance is still open to deconstruction, even though it is not an

authoritarian work that parades its distastefulness (Fortier 66). In deconstructing this
performance, the group would like to apply the concept Derrida used in Auslander’s
reading, where they state that we do not rediscover new meanings, but rather create new
ones from them (Auslander 31). Bringing back the spotlight to the performance, what new
nuances can we create from it now that we know the context of the medium that was
recreated and its situation with members from the LGBTQIA+ community?

The performance by ParoDivas, when deconstructed, contains numerous concepts

and ideas that speak against the status quo. It emulates the medium but it breaks the
normal requirements Miss Universe uses. Instead of having cis heterosexual women and
being set in an enclosed space, the contestants are queer men with the event being held in
an open space. The costumes are unconventional yet extravagant, and the language for the
non-English and non-Filipino contestants is gibberish so they layered it with subtitles.
What is amazing is that even though it is a satirical take on pageantry, it was done tastefully.
However, based on the context provided, a new meaning surfaces as this performance
becomes a statement on gender and materialist conditions, proving Fortier’s point
regarding how there is no work of art that was intended to be (63).
 It was “intended” to be a comedic play but it can be interpreted openly and have
different theories applied to it. One of the key concepts of Deconstruction that is highly
applicable to this is how it complicates the binary relationship between a lot of things, such
as men and women, truth and lies, and the like because, in this performance, queer men are
wearing feminine clothes and moving in feminine ways. As Fortier said, “which is the real
identity” (76)? It is not a simple case of men acting as women, but rather a reclamation of
their identity, and these performances were catalysts to that. What about the setting? Were
they performing outside just to make it different? In their analysis, the group believes that it
was set there because of the lack of access to other physical spaces, as their conditions
contributed to it as well.

This performance is an example of how suspicion rooted in joyfulness rather than

seeking the singular truth (Fortier 66) can be an exciting experience. Deconstructing this
performance opens a whole new perspective, as it can be analyzed through the lens of
gender studies and materialist ideologies. To deconstruct is to call out the premise of
structural analysis (Fortier 58), allowing different interpretations to bloom and develop.

Gender Theory

Miss Universe, Quarantine Edition, more than a means for entertainment, focuses on
the unrecognized role of the LGBTQIA+ community in pageants like that of Miss Universe.
Moreover, it serves as a means to showcase how gender has played a big part in shaping
societal norms and stereotypes we see evident in competitions alike.

As multiple studies and analyses have noted, the body becomes its gender through a
series of acts that are renewed, revised, and consolidated through time. From a feminist
point of view, one might reconceive the gendered body as a legacy of sedimented acts
rather than a predetermined or force closed structure, essence, or fact whether natural,
cultural, or linguistic (Butler). In Miss Universe, Quarantine Edition, the people behind the
parody group were able to break away from the traditional roles prescribed to men and
women by being the contestants themselves. As we know, there has always been a heated
debate on whether members of the LGBTQIA+ should be able to join international pageants
as such and it was not until 2018 when Ángela Maria Ponce Camacho from Spain was able
to represent their community.

Beauty pageants have been a contested part of our culture. Transwomen argue that
referring to such competitions for homosexual males, drag queens, bisexuals, and
transgender women as "gay pageants" obscures the intricacies of human sexuality. Some
transgender women do not identify as gay. They do not identify their sex assigned at birth.
Case in point, members of ParoDivas, do not subscribe to the belief that they are
transwomen but rather, they are proud members of the gay Filipino community.

In the Philippines, sex, sexual orientation, gender identity, and gender expression
are rarely, if ever, discussed, leading to the misconception that there are only four identities:
girl, boy, bakla, tomboy. “Bakla” or gay (a male attracted to males) is under sexual
orientation, while “tomboy” (a female who expresses herself in a more masculine way) falls
under gender expression. Gay men are not necessarily effeminate, because sexual
orientation and gender expression are not the same. Women who do not enjoy “girly”
things are not necessarily lesbians.

As one of the most gay-friendly nations in the world and also in Asia (Tubeza), under
the existing quarantine rules, there is no question that the queens and aspiring queens, like
the members of ParoDivas have been doing their own activities to ease the impact of both
the pandemic and the quarantine on the most vulnerable. It is undeniable that media
platforms have a big impact on our society, hence why the utilization of ParoDivas has led
audience members to be entertained. They serve as instruments that promote gender
equality, as Catriona Magnayon Gray Miss Universe 2018 said: “I believe that beauty queens
were there for more than just a facade.” Like ParoDivas, they stand for gender equality. Their
piece opened up a conversation that so many people were participating in and that is what
we need to lead towards inclusivity and understanding for us to serve the LGBTQ
community better as a society.

Everyone has a sexual orientation and gender identity. Everyone, not just lesbians,
gays, bisexuals, and transgender people, expresses their gender. We have our own safe place
and the ParoDivas created their own safe place not just to showcase their talent and
knowledge but also to spread happiness, hope, and positivity. But we must recognize that in
our country, the LGBTQIA+ continue to face bullying, discrimination, lack of access to LGBT-
related information, and in some cases, physical or sexual assault, and these can cause deep
and lasting harm. In performances like these, we see how gender identity is not determined
by a person's sexuality. It is possible to be born a man but identified as a woman or it is
possible to be a man who is more feminine than masculine or vice versa.

Miss Universe, Quarantine Edition is a performance that encourages the audiences

that members of the LGBTQIA+ community should be accepted and not merely tolerated. It
is a great example of how their members are waiting to be acknowledged by society as
legitimate human beings; this can only be done if their existence is not questioned and
denied. While onstage, they may be in control of who they are, once the cameras are out,
they are once again outcasts. Despite that, with ParoDivas initiative to showcase who they
are to the rest of the world, they are able to amplify the voices of their fellow queer. The
piece, more than anything, is intended to inspire us to open our eyes to and veer away from
the stereotypical gender in order to encourage inclusivity and fair treatment of all genders.

Materialist Theory

What people know to be ‘knowledge’ and ‘ideologies’ are socially

constructed—ultimately geared to keeping their meanings with the social, political, and
economic interests of the ruling elites (Elden). The binary categories of male/female and
beauty/ugly are some examples we see to be evident in competitions and pageants like that
of the Miss Universe franchise. What these constructed pieces of knowledge and ideologies
do not take into account is that theatre, more than being able to change the world, is also
affected by the constant developments around it. As discussed by Mark Fortier (152),
changes in the world are bound to produce changes in theatrical productions.

Since the beginning of the Philippines’ participation in international pageants such

as Miss Universe, one thing has changed—it is no longer an arena solely for women. In
recent years, male pageants have also started to carve a niche in the pageant scene but the
more pronounced extension of these female beauty pageants are those participated in by
those who identify as gay and transgender—specifically, transwomen (Ramirez, 115). As
we know, a significant portion of the Filipino gay community is heavily invested and is
passionate about beauty pageants. Some may be mere spectators, while some are actual
participants in these competitions. Although, a recent development is one we see created
by ParoDivas as they try to adopt the pageant within the boundaries of the global pandemic
with their viral content entitled Miss Universe, Quarantine Edition.

These two viral videos created by ParoDivas may have the main purpose of
entertainment but ultimately, under all the glamour they want to portray, it is a
manifestation of two main concepts: 1) how popular culture can respond to the established
ruling-class ideology through actions like that of what we see and observe in parodies; and
2) how the performances/theater will continuously adjust or develop alongside the
changes that occur in the rest of the world.

In Miss Universe, Quarantine Edition, we see the vital role played by popular culture
in relation to politics and society. Popular culture reacts to meanings and actions produced
in society by devaluing their validity without subverting their raison d'etre or main purpose
(Bar-Haim, 281). It is thus merely a reaction to the ideological forces that inherently
develop and maintain social norms and/or routines. Popular culture is then not meant to
undermine power and authority but rather cast into the public the anxieties and struggles
the marginalized face. We see this in the performances of ParoDivas because they are able
to highlight the unrecognized role of the LGBTQIA+ community with regards to these
international beauty pageants. Moreover, popular culture thrives on the disillusionments,
frustrations, anxieties, and changes that are brought about by the ruling elite (Bar-Haim,
281). This performance is thus a classic example of how popular culture, especially those
that are digitized, is not just for creators to entertain but also to showcase how society is
affected by these ideologies.

More than being a piece of viral content online, Miss Universe, Quarantine Edition is a
cultural artifact that is created by members of the LGBTQIA+ community which is able to
reflect their culture and in turn affects them. As we witness ParoDivas, adapt their own
version of Miss Universe to their own context, it can also be observed that they do so within
the bounds of what they experience as individuals and as members of the LGBTQIA+
community. Looking at this performance under a materialist lens exposes the audience to
the exploitation, repression, and domination the community and its members may feel
without being too direct; it allows ParoDivas to showcase and shed light on their
community and struggles that they continue to face. This lens allows the members of the
audience to place themselves in the position of ParoDivas to discover and understand the
hardships their community faces especially under the COVID-19 pandemic.
Conclusion

As we expose ourselves to more and more performances, we continue to witness

that in many instances, theatre and performance experiences can, if they are powerful
enough, move us and the rest of the audience—whether it be to emotion, to thought,
and/or even to action (Fortier, 88). This is an event we see happen mostly in performances
like that of ParoDivas’—those that tackle and focus on societal issues whether it be directly
or indirectly.

Ultimately, what makes the ParoDivas queer is that their interpretation of Miss
Universe Quarantine Edition evolved from being just a mere part of local festivities to having
it seen in mainstream social spectacles—both in the national and even international levels.
Beyond the entertainment value, their content also regards pageants as opportunities to
express their creativity, to create awareness against discrimination, and to advocate for the
recognition of their legal rights.

Although, the LGBTQIA+ individuals are still subjected to the repressive tolerance
administered by the straight cisgender individuals in power and by society at large. There
are still many steps that need to take place in order for us to unlock the confined cell in
which our community is placed. Despite progress toward breaking gender stereotypes, the
LGBTQIA+ community in the Philippines believes there is still much work to be done in
order to attain acceptance and equality in a conservative and religiously biased culture.
Performances like that Miss Universe Quarantine Edition do not just show the audience their
creativity but ultimately, also their struggles as members of a society that continues to
repress them. For future analysis, the group recommends having a more in-depth study by
also applying a postcolonial approach to the pieces alongside the other videos created by
ParoDivas. With their consistent portrayal of trending topics and concepts, it shows the
basic principles of postcolonial theory especially as they continue to follow more Western
trends.

In theatre, it is time that society recognizes the need to urge the creation of positive
and empowering LGBTQIA+ representation on stage where an individual’s sexuality is not
the basis of the conflict and where these people are not continuously and dominantly
portrayed in the same stereotypical manner that the media is used to. It is a recurring
theme that those who identify as part of the community are considered the laughing stock
of the production and ParoDivas successfully proves that entertainment is not the only
value their members can offer to the people.

These divas show their audience that despite being stuck at home, there are plenty
of things to fight and advocate for. With a simple blanket, curtains, a camera, and a lot of
creativity, they were able to come up with videos that allow us to see pageants like Miss
Universe from a different perspective. Miss Universe, Quarantine Edition is a queer act that
on the surface provides mere entertainment but in reality, it encompasses the concepts of
empowerment, tragedy, representation, and stereotypes. This goes to show that even
through peoples’ creative expressions, it is possible to fight the social issues society
continues to face.
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