In truth, there dependably were transvestite artists in these nations, similarly as in Europe; there had been a custom of transvestite artists in the Opera. Notwithstanding, on account of the Opera, the artists had been emasculated in youth to save a soprano voice. In the East, male artists who executed as ladies were either what we would consider transsexuals today, or
they were assuming the female part in a play, a custom that was additionally a tradition in Europe some time ago. So yes, these sorts of entertainers existed, yet not all men who moved and sang in broad daylight dressed as females. In any case, this was ignored and the presence of these sorts of artists was taken outside of any relevant connection to the subject at hand. Nobody in fifteenth century Europe would have seen the men assuming female parts in Shakespeare as
confirmation that English men were sexual degenerates. Nobody would have suspected that the presence of maimed men and young men who sang in female dress in the Opera was proof of the European man’s sexual slants. Nor would they have concurred that ALL male artists were eunuchs. So why then was there not a similar comprehension as to given to Eastern male move and artists? The reason was that reality did not fit the colonialist motivation. The Eastern man and by expansion the way of life, must be seen as severe, doltish, sexually juvenile and wild.