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"Loveliest daughter of our ancient Cathay!": representations of ethnic and gender identity in the Miss Chinatown U.S.A. beauty pageant

Journal of Social History, Winter, 1997 by Judy Tzu-Chun Wu

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Perhaps in response to feminist criticisms, the Chinese Chamber of Commerce also began to promote female leadership among pageant organizers. Although women had always participated in organizing the pageant, the leadership positions had previously been male-dominated. In 1974, the CCC selected Carolyn Gan as the first female editor-in-chief for the annual souvenir book. In 1979, a woman was elected to the CCC board of directors. The all female fashion show committee also made some adjustments in 1976 that appeared to respond to feminist critiques. In the midst of community debates about the exploitation of women, the fashion committee decided to include male models and men's fashions in the traditionally all female fashion show. While these changes could be interpreted as responses to the growing criticisms of the pageant, their limited nature also demonstrate the difficulty of fundamentally changing the pageant or the CCC. The numbers of women in recognized leadership roles remained small, while the inclusion of male models and fashions occurred for only one year.

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In addition to these attempts to integrate the leadership and content of the pageant, some proponents further claimed that their support for sexual liberation demonstrated their commitment to women's equality. In 1974, the fashion show committee included a "feminist fashion" selection that emphasized revealing clothing. One of the "Women's Lib" outfits was described as "a black full-length evening gown with neckline in back swooping to the waist." Others associated female activists with wearing mini-skirts. These interpretations of "feminism" emphasized women's willingness to express their sexual desirability in shocking ways. Ironically, this emphasis on physical exposure reinforced the objectification of female bodies that feminists criticized. For example, 1972 contestant Patricia Moy decided to give a speech on free love as her talent presentation. She argued that:

a) No one objects to free love, love meaning everything excluding the physical act of sex, which can be considered love . . . .

b) Virginity shouldn't be a prerequisite for marriage.

c) Homosexuality is not necessarily "bad" as society has always labeled it.

The main points of her speech coincided with developing feminist critiques of socially constructed heterosexual ideals and represented a radical departure from more conservative Chinese notions of sexuality. However, the manner of her presentation during the pageant suggests that she may have reinforced traditional sexual roles for women rather than transcended them. She began her act "by stripping off the top half of her pantsuit to reveal a bikini top, and then proceeded to deliver her original speech on free love, virginity, and homosexuality." Moy's decision to expose her body expressed her sexual freedom but also encouraged audience "gawkers" to view her as a sexual object.(37)

This relationship between increased sexual freedom and sexual exposure offers one explanation for the introduction of the swimsuit component to the Miss Chinatown U.S.A. beauty pageant. When the competition first began in 1958, organizers prided themselves for not having their contestants parade around in bathing suits. However, organizers introduced a "playsuit" portion in 1962, in which contestants displayed themselves in short-skirt outfits. In 1967, the bathing suit replaced the playsuit. One organizer claimed that the new requirement responded to the contestants' interest in displaying their beauty through wearing swimsuits. Although this explanation is not confirmed by other sources, his comment suggests that arguments for sexual liberation may have been used to justify sexual exploitation.(38)

"Loveliest daughter of our ancient Cathay!": representations of ethnic and gender identity in the Miss Chinatown U.S.A. beauty pageant

Journal of Social History, Winter, 1997 by Judy Tzu-Chun Wu

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