The Redhead

My photo
There is nothing I love more than burly-Q and the community that supports it! I'm a DFW burlesque performer and pin-up model as well as a collective producer, but most importantly an activist! Contact me if you'd like your show to run as smooth as silk! This blog is intended to shed light on the performance art known as burlesque, provide herstory articles, personal anecdotes, organizing resources and occasionally shameless self-promotion!

Wednesday, August 25, 2010

Where I Stand.

So I've been asked by a few of my non-political friends to share more information about my perspectives on certain issues or struggles, and I thought it would be easier to provide a link to a very informative packet that pretty much encapsulates where I stand on things. I'll post an excerpt below and then the link! Enjoy!

Socialism, Not Capitalism

War, poverty, exploitation and oppression are products

of the capitalist system, a system in which a minority rul-

ing class profits from the labor of the majority. The alter-

native is socialism, a society based on workers collectively

owning and controlling the wealth their labor creates.

We stand in the Marxist tradition, founded by Karl

Marx and Frederick Engels, and continued by V.I. Lenin,

Rosa Luxemburg and Leon Trotsky.


Workers’ Power

Workers create society’s wealth, but have no control

over its production and distribution. A socialist society

can only be built when workers collectively take control

of that wealth and democratically plan its production and

distribution according to human needs instead of profit.

The working class is the vast majority of society and is

the key to the fight for socialism. Workers’ central role in

production gives them a social power—by use of the strike

weapon—to paralyze the system like no other social force.

Socialism is working-class self-emancipation. Only

mass struggles of the workers themselves can put an end

to the capitalist system of oppression and exploitation.

We support trade unions as essential to the fight for

workers’ economic and political rights. To make the unions

fight for workers’ interests, rank-and-file workers must or-

ganize themselves independent of the union officials.


Revolution

We actively support the struggle of workers and all op-

pressed people for economic, political and social reforms,

both as a means to improve their conditions and to ad-

vance their confidence and fighting strength. But reforms

within the capitalist system cannot put an end to oppres-

sion and exploitation. Capitalism must be replaced.

The structures of the present government grew up

under capitalism and are designed to protect capitalist

rule. The working class needs an entirely different kind of

independence from the corporate-dominated two-party

system in the U.S.


Internationalism

Capitalism is an international system, so the struggle

for socialism must be international, uniting workers of all

countries. Socialists oppose imperialism--the division of

the globe based on the subjugation of weaker nations by

stronger ones—and support the self-determination of op-

pressed nations. We oppose all immigration controls.

We oppose U.S. intervention in Cuba, the Middle

East, and elsewhere. We are for self-determination for

Puerto Rico.

China and Cuba, like the former Soviet Union and

Eastern Bloc, have nothing to do with socialism. They are

state capitalist regimes. We support the struggles of work-

ers in these countries against the bureaucratic ruling class.

Full Equality and Liberation

Capitalism divides the working class, based on sexual,

gender, racial, national and other distinctions. The spe-

cially oppressed groups within the working class suffer the

most under capitalism.

We oppose racism in all its forms. We support the

struggle for immigrant rights. We fight for real social,

economic and political equality for women, and for an

end to discrimination against lesbian, gay, bisexual and

transgender people.

We support the fight for Black liberation and all the

struggles of the oppressed. The liberation of the op-

pressed is essential to socialist revolution and impossible

without it.


http://internationalsocialist.org/pdfs/WhereWeStandPamphlet.pdf

Thursday, August 12, 2010

Dr. Sketchy's Anti-Art School OKC

For those of you who don't know, I'm a Co-Producer for the Dr. Sketchy's Anti-Art School chapter of Denton, Tx. So what the hell does that mean? Dr. Sketchy's Anti-Art school is the world's premier alt.drawing movement. Artists draw underground performers in an atmosphere of boozy conviviality. Found in 2005 in a dive bar in Brooklyn, Dr. Sketchy's has now spread to over 100 cities around the world, Denton being one of them. (http://www.drsketchy.com/) or check out the Denton chapter's faceboook (http://www.facebook.com/pages/Denton-TX/Dr-Sketchys-Denton/129822811752?ref=ts).

Just a few short months ago I was the featured performer for the OKC chapter, and because I'm absolutely shameless I'm going to post a few photos here from the live modeling session! These were taken by my very close friend Eddie Mercury, who's a boylesque performer from OKC!

Dr sketchy's okc


And here's me with Eddie!

Photobucket

xoxo




Wednesday, August 11, 2010

Brief Overview of Rosa Luxemburg's "Mass Strike"

Below is the "Lead-Off" that I presented at my local branch of the International Socialist Organization! I thought I'd post it here as part of my herstory articles! Enjoy!


I’d like to open with a quote from Hal Draper, regarding what Rosa Luxemburg embodied not only in her text The Mass Strike but also in her revolutionary activism, Socialism from Below, “The heart of Socialism-from-Below is its view that socialism can be realized only through the self-emancipation of activized masses in motion, reaching out for freedom with their own hands, mobilized "from below" in a struggle to take charge of their own destiny, as actors (not merely subjects) on the stage of history.”

During this lead-off I intend to offer analysis of Luxemburg’s Theory of Spontaneity and Organization, as well as highlight some of her first hand accounts of the evolution of general and mass strike beginnings from 1902-1905, and finally to draw a contemporary parallel to the counter revolutionary tradition that anarchism plays within revolution, utilizing the article in the most recent issue of the ISR, Contemporary Anarchism.

It seems only fitting to begin this leadoff with an engagement of Luxemburg’s most prevalent theory, and one of the larger thematic elements of the text, her theory of Spontaneity and Organization. Rosa Luxemburg first and foremost believed in a grass-roots method of organizing a party-oriented class struggle. She wrote, "The working classes in every country only learn to fight in the course of their struggles ... Social democracy ... is only the advance guard of the proletariat, a small piece of the total working masses; blood from their blood, and flesh from their flesh. Social democracy seeks and finds the ways, and particular slogans, of the workers' struggle only in the course of the development of this struggle, and gains directions for the way forward through this struggle alone." From this we can gather that Luxemburg saw that the organic uprising of the masses and organization were not mutually exclusive, but rather inextricably linked to one another; both playing equally crucial roles in the revolutionary process. She expanded on this idea through her experiences and analysis of the 1905 revolution. During an elaboration on the eventual German mass strike, she writes, “The firm organizations, which, as the indispensible hypothesis for an eventual mass strike, should be fortified like an impregnable citadel-these organizations are in Russia, on the contrary already born from the mass strike. And while the guardians of the German trade unions for the most part fear that the organizations will fall in pieces in a revolutionary whirlwind like rare porcelain” Rosa then comes to the defense of said organizations by saying, “ the Russian Revolution shows us the exactly opposite picture; from the whirlwind and the storm, out of the fire and the glow of the mass strike and the street fighting rise again, like Venus from the foam, fresh, young, powerful, buoyant trade unions.” All this poetry is to say is that, the workers who, being the only ones capable of actualizing their own liberation, will along with their political violence also realize the need and implement their own system of organization, their party. Ernest Mandel comments on Rosa’s views of the self-emancipation of the workers by saying, “What gave the "mass political strike" such an exceptional place in Rosa’s schema was that she saw in it the essential means to educate and prepare the masses for the coming revolutionary conflicts (better still: to educate them and create the conditions which would enable them to perfect their education through self-activity). Although she had not elaborated a strategy of transitional demands, she had drawn from the sum of past experiences the following conclusions: that it was necessary to break with the daily practice of electoral struggles, economic strikes and abstract propaganda "for socialism". For her the mass political strike was the essential means to break out of that very ghetto.” Contrary to this, the conservative bureaucrats in the trade unions and the socialist democrats feared the mass strike, believing that such “rash” violent action would incite the state to react in full oppressive capacity on a poorly prepared worker’s movement, and thus endanger the existing accomplishments made in previous years. The workers, obviously, had different ideas about this…and as Helen Scott puts it, “Far from jeopardizing the labor movement, the mass strike breathed new life into it.”

Unfortunately, it is necessary to outline one of the more insidious occurrences. That of the blood bath in St. Petersburg, in December of 1905; in order to reflect on the evolution of the nature of general and mass strikes, as well as highlight what the rising in January really meant for the proletariat masses. It’s important to note that these collective strikes began as unified revolutionary action instigated by the social democrats, however their rapid dispersal into more radical local action illustrated the evolution from industrial economic struggles into political demonstrations. In reference to the revolutionary solidarity with the St. Petersburg proletariat during and after their demonstrations in December, Luxemburg writes about the speeches, and conflicts with the military, stating, “but even here there was no predetermined plan, no organized action, because the appeals of the parties could scarcely keep pace with the spontaneous risings of the masses…” She goes on to say, “The economic factor and the scattered condition of trade unionism were the starting point; all-embracing class action and political direction the result.” What this also brought to light was the intrinsic role that this played in the debate of reform or revolution. Luxemburg continued to stress that small reforms are not really the overarching goals of the revolution, but rather the intellectual implications that these reforms brought about for the worker masses. As she most eloquently puts it, “the most precious, because lasting thing, in this rapid ebb and flow of wave is its mental sediment: the intellectual and cultural growth of the proletariat, which proceeds by fits and starts, and which offers an inviolable guarantee of their further irresistible progress in the economic as in the political struggle.” To continue to reiterate this theme of natural arising, Luxemburg maintains the position that "economics" and "politics" are indissoluble, and that mass strikes are not something that can be conjured up on command or prevented; but that they spontaneously manifest when workers confront intolerable capitalist conditions.

What is so crucial to remember though, is that all of the various political and economic strike methods are fundamentally linked through the revolutionary process. For example, Luxemburg stresses the interconnectedness of the reform wage struggles with the revolutionary demands of overthrow. She repeatedly contrasts the experiences of mass strike in Russia with the discussions surrounding mass strike in Germany. The differences, as she outlines them are as follows: “Instead of the rigid and hollow scheme of an arid political action carried out by the decision of the highest committees and furnished with a plan and, panorama, we see a bit of pulsating, like of flesh and blood, which cannot be cut out of the large frame of the revolution, but its connected with all the parts of the revolution by a thousand veins.” What Rosa is calling attention to here is the dry, theoretical nature of the discussions surrounding the German interpretation of mass strike, and instead making credible the actions taken by the Russian labor movement to empower themselves through self-actualized uprisings. As she goes on to say, “Political and economic strikes, mass strikes and partial strikes, demonstrative strikes and fighting strikes, general strikes of individual branches of industry and general strikes of individual towns, peaceful wage struggles, and street massacres, barricade fighting-all these run through one another , run side by side, cross one another, flow in and over one another, - it is a ceaselessly moving, changing sea of phenomena.” And just to be sure that you take note of who wields this power, she closes her argument with this, “And the law of motion of these phenomena is clear, it does not lie in the mass strike itself nor in its technical details, but in the political and social proportions of the forces of the revolution.” And those forces, as she refers to them, are the people. The people ultimately determine the course that they will champion, of this, Rosa Luxemburg is unwavering.

In order to illustrate the continued relevance of Luxemburg’s perspectives on counter-revolutionary threats, I thought I’d incorporate an article that we’re familiar with from the most recent ISR, Contemporary Anarchism. Eric Kerl, writes, “The anarchists represented only themselves and so could not formulate a coherent set of demands-indeed they did not wish to. All of these proposals to make a “revolution” without actually challenging the state are radical sounding, but are based on the acceptance of the state-the very institution that possesses the monopoly of coercive means necessary to maintain capitalist social relations.” This sounds suspiciously similar to what Rosa Luxemburg was emphasizing in her condemnation of the anarchist approach to general strike. Anarchism does not further the revolutionary cause; it removes the actual power of uprising from the people and transfers it into a utopian headspace that serves no practical purpose other than to pontificate upon itself. Anarchists as well as Syndicalists saw the mass strike as an isolated, stand-alone measure that of its own accord would develop a desired socialist society. Therefore they became proponents of industrial, economic action instead of political. Luxemburg backs me up by stating, “The Russian Revolution means the historical liquidation of anarchism. The sorry existence to which this cerebral tendency was condemned in recent decades by the powerful development of social democracy …” she continues with, “a tendency revolutionary only in the most naked, pitch-fork sense…” again referring to anarchism’s role in the revolutionary process. The eventual loss of the revolutionary risings in 1905 established that mass and general strikes alone don’t guarantee lasting social change, again refuting this anarcho-bias.

To close, I think some of the most important lessons to be gleaned from Luxemburg’s Mass Strike, would be her exploration of the necessity of grass-roots movements and their progression from economic struggles into decisive political solidarity demonstrations, the focus on the inherent correlations between organization and spontaneity, and finally her contemporary relevance not only to our tradition but in examination of counter-revolutionary anarchist tendencies that still exist.

But because American History X taught me to end with a quote, “The Mass Strike as the Russian Revolution shows it to us, is such a changeable phenomenon that it reflects all phases of the political and economic struggle, all stages and factors of the revolution. It’s adaptability, its efficiency; the factors of its origin are constantly changing. It suddenly opens a new and wide perspective on the revolution when it appears to have already arrived in narrow pass and where it is impossible for anyone to reckon upon it with any degree of certainty.”


Sources:

Luxemburg's Mass Strike

http://wearemany.org/a/2010/06/luxemburg’s-reform-or-revolution

http://socialistworker.org/department/Opinion/Helen-Scott

http://www.solidarity-us.org/node/247

http://www.internationalviewpoint.org/spip.php?article155


Saturday, August 7, 2010

Switching Gears

As you may have noticed I've taken a bit of a break from my previously hectic gig schedule to focus on my school and activist work more heavily. I felt I was finally in a place to dial it back a notch and I decided to just go with it. That being said I am going to open my booking calendar up for the late Fall! Let me know if you need me! So while I may not have any burlesque gigs right now, I do have some really great political events coming up!

First off, for my housewarming party, I'm hosting a potluck and film screening for the Denton Chapter of The Campaign to END the Death Penalty! The topic of discussion and film will be in regards to women on death row, so bring questions and ideas along with your dishes! The event will take place on Aug. 19th, at 7pm, and will end promptly at 10:30pm. We're asking for $3 as an entry donation with a dish (veggie options are encouraged!) or $5 without a dish contribution. The event is also BYOB (that last "b" stands for beverages in general). We will also have our new merchandise, t-shirts and buttons, for sale at this event! Please message me for directions if you'd like to attend or if you'd like to get involved with us!

If you would like to officially RSVP, you may do so on Facebook via the following link: http://www.facebook.com/event.php?eid=137634382941549&ref=mf

The CEDP will also have a fundraising houseshow & kegger, the next night, on the 20th with several really popular local bands, venue TBA! Keep looking for my updates on this!


Next in line is a little further down on your calendar, but mark it there none-the-less! On September 4th the Denton Chapter of CEDP will also be hosting it's first annual March Against the Death Penalty! We will begin in downtown Denton, on the square, and march to the UNT campus where we will screen the film, State vs. Reed and have speakers and an organizing fair. This will be an excellent educational event, as well as organizing one! It will be the perfect opportunity to get involved with several progressive organizations in the North Texas area!

Photobucket

If you'd like to learn more about us, you can visit the national website here:
http://nodeathpenalty.org/content/page.php?cat_id=1

Soon I'll be posting a re-cap of my Chicago trip: Socialism 2010! As well as a short analysis of Rosa Luxemburg's Mass Strike, which I presented at my local International Socialist Organization's branch here in Denton! Also be watching for new photos that I'll be posting here as well from my Dr. Sketchy's Session in OKC!

xoxo

Wednesday, May 26, 2010

Upcoming Shows and Benefits!

Told you I'd be promoting! So here's what's in store for the rest of May and most of June!

First off I'm happy to be a part of a Cocoa and Pistols Production! These ladies are such a joy to work with, and they really know how to put on a great show! Performances by Black Mariah, Honey Cocoa Bourdeauxx, Crystal Pistols, Sin O Rita, Andrea Von Frankenstein, Frostine Shake, Vinny Velour (ME) and Onyx Fury! Our host for the night will be the one the only Jerry Fedora! Tickets are limited to 50! $15.00 pre sale $20.00 at the door *****Pre sale tickets available at the link http://www.cocoaandpistols.blogspot.com/
This venue, Luminarte Studios at 1727 Levee, is BYOP (bring your own poison) There's also FREE PARKING, that never happens in Dallas!!!!

Photobucket


Next up is a great benefit for The Center for Economic Research and Social Change (http://www.cersc.org/)! I'm going to be reading a monologue as Mother Jones, and numerous other performances will be done as well! "Voices of a People’s History of the United States brings to life the extraordinary history of ordinary people who built the movements that made the United States what it is today, ending slavery and Jim Crow, protesting war and the genocide of Native Americans, creating unions and the eight hour work day, advancing women's rights and gay liberation, and struggling to right wrongs of the day. By giving public expression to rebels, dissenters, and visionaries from our past—and present—VOICES seeks to educate and inspire a new generation working for social justice."This great benefit will aid the International Socialist Organization and its contacts to travel to Chicago for its annual conference! If you're down with social justice, you should be at Banter Cafe in Denton, on May 30th at 7pm! There is a suggested donation of $5 for cover! For more information, http://www.peopleshistory.us/

Photobucket


My next big show is on June 4th at the Lakewood Theatre in Dallas! A new monthly show (1st Friday of every month) sponsored by Pin Curl Magazine, Viva Dallas Burlesque! is sure to prove spectacular! This month's show features Fetish Girl Angela Ryan, Lollie Bombs members Black Mariah and Angi B Lovely, Bubbles von bonbon, Vivienne Vermuth, Melissa Meaow, Bunny Bailey, and Pearl Lux! Doors @ 8pm Show @ 9pm, just $20 for all that great entertainment! For tickets or more info go to pincurlmag.com/events

Photobucket

Last but certainly not least, I'm hosting a live art modeling and burlesque benefit, Sideshow Sketching! This event will again contribute to The Center for Economic Research and Social Change, and help myself and others get to Chicago to grow in our activism! With tattooed women, a bearded lady, strong man, skinniest man alive, and loads of great burlesque performances, this is the benefit to attend! Bring your drawing supplies, cameras, and $5! Models and Performers include Dorian d'Muerta, Della May, Katja von Krypt, Fifi Dupree (plus many more!!!) and a fabulous MC Eva Nightingale!

Photobucket

Tuesday, May 25, 2010

Burlesque Bitching

A question I get asked a lot:
"What the hell is burlesque, and how could it possibly be feminist?"

This is not a tough question for me, although I do realize not everyone in the community is on the same page with me here. But let's hash some things out, shall we? It's important to start with a basic herstorical outline to provide a framework, and then move on to contemporary issues/debates, and from there, well...draw your own conclusions.

Burlesque in its original inception was meant to "make a mockery of" specific social taboos or prescribed behaviours. This generally involved vaudeville type comedy, slapstick sketch, and striptease as an after-thought (I am speaking about the American movement specifically here, although I will touch on the French and the Weimar Republic movements which had some amazing gender bending/progressive activism happening there).

{Take for example American born, and French citizen and burlesquer extraordinaire Josephine Baker. Responsible for integrating numerous theatres and dance halls in the 20s, challenging ethnic stereotypes and gender roles, fighting against the Nazis by hiding messages to the allies in her sheet music in the 40s, and then heavily participating in the Civil Rights movement in America later in the 1960s...that's some serious social activism.}

When burlesque really got its momentum going in the early 1930s it had a very thick air of entertainment escapism surrounding it do to the horrific economic crisis at the time. People continued to patron the underground gin halls, where touring troupes or actors and burlesquers frequently performed at. People needed a laugh, and the adult flair of the entertainment kept them coming back for more. We don't have much way in the writing about the treatment of the women from the gin hall owners, but there is lots on the books about police brutality against the men and women touring and trying to make money doing something that openly criticized the status quo. It wasn't all bad, with the end of prohibition burlesque began moving into proper theatre halls and the striptease moved into the forefront, instead of just existing as the transitional acts between comedy routines.

{As a side note, The Weimar Republic in Berlin was experiencing its own brand of adult entertainment. From roughly 1917-1931 Burlesque and cabaret were the norm, cafe culture, prostitution, gender bending and art for the sake of art ruled supreme. This was a brief and fleeting moment in history where the supposed "low" end of society rose up and robbed the bourgeoisie while masquerading as their entertainment. The art created at this time embodied the questioning and challenging nature of the people negotiating their sexuality during this time. Unfortunately this creative and wonderfully debauched explosion was stamped out by a fascist take-over.}

With this movement came new problems that needed to be eradicated. Producers and agents entered the scene, which was not always beneficial for the performers, male or female (although, let's face it, the women got shafted the most). These new players became managers which reaped the benefits of the performer's art. This would become a rallying point for the Neo-Burlesque movement presently. The 1940s proved to be just as tough as the 30s. War moved women into every possible vocation, and the entertainment industry was still going strong, trying to keep America distracted. Burlesque Queens were starting to engage in a new avenue of promotion, the Pin-Up. Notably more subtly suggestive instead of overtly sexual in its imagery, this new mass producible art print was marketed to those overseas, as well as at home. Again, this will become another vehicle for the upheaval of the status quo, contemporarily. They were also garnering roles in film, the famous Gypsy Rose Lee set the example for this career pursuit with her witty banter and humorous striptease routines, and Sally Rand with her awe inspiring graceful fans.

The 1950s and 60s are known as the Golden Age of Burlesque. This is when we have the big names; Satan's Angel, Tempest Storm, Bettie Page, Lili St. Cyr, Dixie Evans, etc. (Two of these fabulous burlesquers are still performing for massive audiences in their 70s and 80s!) Now with regular nightclub gigs, and performance halls specifically designed for burlesque, the art looked like it was never going to slow down! Routines were now being filmed, albeit most of them were burned or lost during the conservative efforts of censorship by congressional committees, on the adult industry. But with the advancement of the Sexual Revolution, T.V. and the addition of Go-Go dancing and table dancers, the now quaint "old fashioned" burlesque show began to wane...

It wasn't until the 1990s and 2000s that Neo-Burlesque as we know it came to fruition. Women and men on the East and West coast began reviving this old art form. People like: Dirty Martini, Kitten Deville, Billie Madly, Bettina May, Go-Go Amy; Organizations like Coney Island USA, The Velvet Hammer Burlesque, Cinema, the list goes on and on. These people were interested in one thing, capturing that spark of entertainment herstory that got shoved under the rug. Obviously there were some changes that needed to be made...

So after that incredibly abridged look at burlesque in America, let's look at some issues regarding the art today.

Neo-Burlesque functions as an umbrella for political satire, social commentary, vaudeville tribute and entertainment for an audience craving more than prepackaged TV bullshit. It is a reclamation of an old form of performance that is deeply rooted in this country's herstory as well as dating back to antiquity. It's a re-appropriation of an art that had the potential for progressive application but was sullied by invasive middle-agents, greedy venue owners, and police brutality. It's new, and burgeoning now because of progressive people who wish things would have gone very differently back then...

It is inclusive of women of all shapes, sizes, abilities, ethnic identities, body modifications, gender identities, and sexual orientations. In terms of "Boylesque" ( burlesque or comedy performed by a gender identifying male) this also rings true.

Burlesque Collectives (of which I am a proud member of Broads & Panties) are taking the place of single producer monopolies. Performance, Production, Stage Managing, Promotion all rotate and are shared under this new medium. Performer exploitation is eliminated via these methods, and performers can take gigs that they see fit as supplemental income/hobby and leisure/benefit based etc. Production is also being taken into the hands of the performers themselves, or other community members who support the performers passionately and have teams of burlesque enthusiasts who ensure those performing are taken care of (Bewitching Burlesque or PinCurl Magazine, to just name two).

Most, if not all of the performers I have met, talked to, seen, read about are all involved in some sort of community organizing work. Whether it be animal rights (Pin-Ups for pups), queer rights (Drag show benefits, Queer Liberaction), the feminist movement (Texas Equal Access Fund benefits, VDAY benefits), human rights! Everyone is involved in some extra-campaign in their own personal life which they are then able to discuss given their metaphorical podium as a performer.

The power dynamic has shifted. We are now seeing a "Power To" not "Power Over" relationship for the performer and audience. This obviously benefits everyone because of the level of control and empowerment which the performer can now achieve sans middle-agent.

The "Standard of Beauty" that has been the oppressive force of the fucked up American system of beliefs, intrenched in the commodity culture fueled "beauty" industry gets challenged EVERY time one of these incredible, diverse people takes the stage. We are REAL. Are we modified? Yes. For our own goddamn reasons, and I won't pretend to speak for everyone, but the men and women that I've interviewed or had major discussion with, see it as another engagement with the challenging of social taboos and expression of their own creativity.

The Pin-Up is a mass producible, recognizable image. What better way to insert our own created identities, and subvert the status quo than to use something so wide reaching as this art genre?

And another thing, no one can deny that a level of sexuality is involved here. Some performers choose to play up or play down this facet of the art. However, to deny human sexuality implies that in some way it is wrong. This is problematic on a number of levels, because now that performers can control when/where/how/and how much the body is in a much safer space to be an instrument of creativity. And when the body is safer, performance and expression is also safer.

So if Feminism is the belief in the social, political, economic equality between "men" and "women" how does this performance art by women, and mostly for women ( audiences are generally 60 f/40 m) not qualify if it's challenging gender roles, the standard of beauty, social taboos, and political happenings? Even its re-creation came at a time of genuine disillusionment with the raunch entertainment industry and as a backlash to adult industry dominance. It's a rare opportunity to take something with progressive roots and really expand upon its application to the empowerment of those involved.

When I asked the three touring Guerrilla Girls who came to the UNT campus last year, to speak about "The Maternal" in art and culture, what they thought about Neo-Burlesque, and the idea of reclamation, they told me it was intrinsic to participate in activist reclamation. Not only of art, but of language as well. The incarnations of performance art are changing they told me. Women engaging in these new avenues would need support as well as critique. Those art activists got me thinking about a lot of things...

If you're mad or confused, or simply found yourself nodding fervently while reading this, I'm incredibly satisfied. Of course I am not the end all be all authority, but I do have quite a bit more to say. There are loads of others like me, waiting for you to read them, talk to them, see them perform...The debate doesn't stop here, there is so much to be discussed and challenged! This is a very exciting time in this sub-culture, new ideas from each coast and internationally are shaping and contributing to the growth of this strange and fascinating thing known as, burlesque.

Monday, April 12, 2010

Debuting Soon!

Thanks for dropping by! Keep your eyes peeled for great, new posts coming soon!

xoxo