Di’ Lovely makes the exuberant crowd at Genever particularly proud, not for what she isn’t wearing but rather for what sheMs. B LaRose, a Midwest-born burlesque refugee from a well-paying corporate job, says spending time with — and learning from — other Filipinas backstage for the first time is a revelation.Ms. B LaRose dances at Genever in L.A.'s Historic Filipinotown.
Similar emotions wash over subsequent shows. Amid a few stray dollar bills that had been tossed during the dances, Di’ Lovely stands breathless and clearly thankful for the overwhelming show of support. Patricia Tumang, who came to the show with her wife, Meds Medina , says she finds the show empowering.“I grew up Catholic in a Filipino immigrant household,” Tumang says, noting how difficult it is to break cultural stereotypes regarding gender and sexuality. “So something like this, where women are embracing their sexuality and performing as Filipinas, it’s a huge deal.”
Creating a character who serves as a reflection of an underexplored part of her persona is one of the aspects of burlesque dancing that first appealed to Lady Mabuhay, whose name is the same as a popular Filipino toast to long life and pleasure. Di’ Lovely is acutely aware of this dynamic in her homeland and is working to change it. She has been traveling to Manila to help pioneer a burlesque scene there.
“Women are exported to other countries to be housekeepers and nurses, and unfortunately, for sex trafficking,” Ebojo says.“We like to push the envelope, but we also want people to come out and have a discussion with us,” she says, adding that burlesque dancing “is something that could be seen as Filipina women being empowered, not being enslaved or tied down.
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