Apr 172012
 

I clocked off from my research for two weeks, during which time, Samantha Brick-gate happens.  I don’t want to add to the sheer volume of words generated by the incident, instead, I wanted to blog the final encounter with the showgirl in my second chapter.  My research, to reiterate, investigates both my own feelings of loving showgirls and the experiences of showgirls themselves.  It is my hope, wish, intention, that through opening up my feelings of sisterhood and respect for glamorous women, that I may potentially add to a rich, healthy discussion and how women relate to one another in positive, sisterly ways.  I am completely fed-up with the trite worn-out trope of women’s competition amongst each other.  It is not what I feel or experience.

In a tiny bar, Cellar Door, underneath the Aldwytch, London, I put cocktails I could not afford on my credit card. As it was a bar, a middle-aged man chatted to me, asking what I do. I told him. He began to tell me what he thought about burlesque, informing me how little affect it could have. I began speculate a politics of burlesque, perhaps, femininity and the potential for collectivising around specific issues, citing the Slut Walks as an example. He responded by telling that as he could not see what all the fuss was about with the Slut Walks. As he saw it, it was a good idea to avoiding dress like a slut and going to bad areas, in reference to the initial comments by the police representative, who addressing a group of students in Toronto, which hard sparked the initial protests. Hearing his prejudiced, short-sighted views, in which his sense of entitlement had blinded him of other peoples’ experiences, caused an internal incandescent rage. I did not want to have tell him how totally ignorant, misogynistic he was and his sense of entitlement to tell me about my research and experience as a woman in that specific context, so instead I died a little inside. I was gradually able to disassociate from him as the performers did their turns. Hannah Friedrick, sang jazz interpretations of pop songs including Material Girl, Wild Thing and songs from Jungle Book, to hilarious effect. I was singing along and I was able to relax and make a few notes in my notebook. I drank another cocktail and started to chat to Beatrix Von Bourbon, the burlesque dancer, before she performed. We had tweeted each earlier in the day. Then, as Beatrix started her second and final strip of the evening, I stopped writing and I closed my notebook, so that I could be present in the moment.

The strip was a perfect moment and the performer owned the room. She performed for the audience, as an act of generosity. She was experienced and educated enough to be aware of what she was doing. It did not feel sleazy or uncomfortable despite the number’s conclusion in which the performer’s nudity was in close proximity to the audience. She was prepared to be our object of desire for a moment, because she chose to be. And as I watched, still, not far from the middle-aged man, I thought, yeah fuck you, you have no idea what this means, what pleasure the performer is generating. You have no idea what this means!

Amongst the pleasure-experiences I have described, this was a very simple encounter: a tiny bar and a dancer with a fabulous heavily tattooed body in a great outfit. During the short act, my attention was focussed and nothing else existed. The formula was minimal, but completely accessible to me. I just felt happiness. I felt happy a woman could produce the moment. I felt sisterhood for the performer.

Dec 022011
 
I tried to photograph the interior of this theatre, but without a magazine publishing deal they would not work with me.  So I loved the show, but it makes me sad to think about it.  

In the dark theatre, I could not make notes.  I make notes in the pub afterwards: 
 
Voulez Vous Coche Avec Moi number: women groin moves/sex moves. Kicking routine ending in water, Busby Berkely.  Homoerotics not sublimated, cavemen with Mohawks and one woman with boobs out, men rolling on each other.  Men stripping in shower.  Dancing in black leggings. Drag singing.  Jumpers in black bodysuits with lime stripes.  Girls not fully on beat of the music.  Smiles! I love smiles! Sex moves.  Contemporary choreography and music.  Girls over a barre number.  I’m Coming Up by Pink – strange disco headwear.  Trampy women in ‘cameras-flashing’ number, lace bondage leotards.  Short-haired female dancer going for it, my favourite dancer.  Tap-dance on a podium Matrix-style.  Sailor scene, strip for men.  Tango with two men and one woman.  
Dec 022011
 

I also visited Paradis Latin, and here are my notes from that show.  At the end of the evening I rode a ‘velib’ – a bike you can rent in the street, to my friend’s flat to say goodbye to her before she travelled back to Berlin.  Just some context for you!

Paradis A La Folie: Madness in Paradise.  Tourist crowd, same one as Nouvelle Eve.  No style.  Gaggles of women in 20s.  Couples in groups in 40s, boring looking.  2 x couples alone in 50s.  Blouse and purple knit jerkin.  Australian bus load of 20s in semi-smart clothes (but a bit townie too).  And audience on holiday, relaxed, drinking, speaking English.  Large Indian family.  Lower-middle class demographic?  Professionals, skilled workers and students?  Banquet tables.  Large groups of women. Sparkly diamante hair-band.  A straight audience?  A photographer comes round, I say no.  It’s strange how on the metro if I saw these women I see around me, I’d feel an affinity with them, but not now, in this context.  The lights dim.  Video projected.  Roses outfit, 5 girls, 4 nudes, t-bar tan shoes, all short brown hair, 5 boys.  Compère lowered on to stage, a pale pink top hat and tails.  Rose nude lowered from ceiling long hair and flower thong, ballet flats, nude with leaves.  Ballet pas de deux.  Female singer enters from back of auditorium.  Rose coloured long dress with large rose neckline.  Singer with 4 men and then compère.  Showboys for moment, lots of jump steps, tapping, cheeky, cheesy choreography, very Constance Grant Dance Centre.  Compère speaks to audience in French, then English.  Waiters on stage, the male dressed-up host as we came in, now in drag.  In ballet class number at the barre, evolves and more sexy leotard girls come out, very Eric Pridz video.  Judo boys – manly???  Music, Daft Punk-esque beats.  Steam shower with girls, just towels, 4 girls, strip with tease removing towel.  Bit more knowing choreography.  Bums in showers – men.  More comical choreography.  Barbie doll bodies – hairdown, swish hair head roll.  Rave disco scene – techno.  Pop/street dance influences unzipped skeleton wet suits.  Goes to black, zip-up full skeleton suit.  Oh-la-la song.  Girls in Adidas type tracksuit bottoms.  Compère back, black suit.  Angelou, unicycling bartender.  The formula makes me think of the ‘70s.  Country fair carousel, rotating with girls on as architecture – blonde pageboys.  Opens up into 4 girls in leathers on motorbikes, take off helmets and shake out blonde hair.  Strip off to boob harness and thong.  Dance on the bike, arched back.  Hair swinging.  Rope and man in white pants – ‘Christopher’ – sublime smile – Tarzan/Indiana Jones music.  Shaved armpits, arm decoration, sequinned shorts.  Very flit, flexible, was he an Olympic gymnast 15 years ago?  The guy spotting him is a star too.  Montagues and Capulets Prokofiev music, period dress.  Court dance, with boobs, pas de deux scene from Romeo & Juliet.  Strip off to under-net, they marry, sexy ballet??  Hip hop tribute to Romeo & Juliet.  4 girls in waistcoats, jeans and Trilbys, 5 boys in just jeans and Trilbys.  Body hair-free evening.  Boys as objects.  17tth Century Louis 15th number, girls as boys court dancing, boys strip off and stay, girls leave.  Real boys in same sort of outfit and they strip off too.  2 sets of boys dance together.  Bouillon?  Tap-dancing juggler.  Can-can, better costume, better choreography (than La Nouvelle Eve).  Girl tumbler, 3 boy tumblers.  Compère in white tails.  Thanks technicians, dressers, musicians, front of house.  Cheerleaders, singer in a long white gown – Marie.  No fake boobs.  Crossdresser type dame goes back and forth between male/female dress.
Dec 022011
 
I visited the the smaller scale cabaret ‘La Nouvelle Eve’, and drank a small bottle of champagne, included in the ticket price, whilst making these notes:


Audience: tourists, families – large Indian family.  Middle aged couples, girls aged 10, boys aged 13?  Australian student group.  Young smart couple, 20?  Middle aged large group, breaks up into men and women.  Two German women in 60s.  Everyone dressed up smart.  American father and son.  Preppy Americans in front of me.  Opening number, 10 women, 4 men.  Is this chorography dated?  Disco-ball entrance, blonde-singer, g-string.  5 girls techno-beat number, red top with cut out heart on sternum, more commercial dance.  4 boys enter, girls leave.  3 girls back – smiles! Topless dancer, 1, 2, 3, 4, 5.  Sparkle sleeves, original.  I like the dancers, personality.  Head-dresses, just hair up, understated.  Blonde-singer comes on with very Moulin Rouge headdress.  Topless, singing.  She doesn’t have ‘it’ fully.  Two men juggling with hats.  Black waistcosts, white shirts and trousers.  Australian audience member pulled up on stage – juggler speaks English – tourist language.  Cancan – three boys in red and black, two girls in pink.  Ten-girl line, multicoloured costumes.  Lots of yelping, like wildcats.  Boy cartwheels and tumbles, takes centre-stage, why?  Kicking music, same as Constance Grant Dance Centre uses (my dancing school).  Three boys come on.  Boy doing jumping splits – why?  All girls in twos, 2 girls dancing together.  Mr Bean type clown enters.  Physical comedy.  New number, 4 girls in trousers and 2 boys – all in the same costume, 5 girls in floppy drop-waisted dresses, 2 couples come on.  Feels fresh, dramatic tango-like.  Girls are boys in the choreography.  Nice use of back.  Cuban-heeled Oxfords on girls as boys, boys in a flatter heel but that’s the only difference in costume.  Music is a bit Eurovision.  4 boys from Grease, 2 girls on ribbons, topless in S & M harnesses.  They leave.  Black strap costumes – nice.  Blonde singer is ‘Arta’ the star girl/compère is a better dancer than singer.  No singing.  Topless male, more manly.  White costume dancer with ballet-flats and thong.  Enigma type music for ballet.  Arta back in long backless frock.  Good set of lungs on her.  I don’t like her bottle blonde bob.  Jazz Hot Baby – blue leotards and bows, pillbox hats.  Great costume, not used enough.  Jazz Hot – great song, would love a bit more tapping out.  Arte talks in every langue – she’s like a flight announcement.  Frothy, needs balls.  Arta gets 4 audience men to dance on stage.  Really?? A bride as a prize?? Bit weird.  Bit buy-a-Russian-bride.  Man comes on stage with showgirl holding a baby.  Weird.  Like Fire number, film Showgirls hand-move.  Arte, she’s good, but I want a larger personality to carry the show, she’s slightly lacking in charisma.  How do shows queer themselves?  Finale black and pink.  Love Me, 6 girls, topless, platform shoes for shorter dancers.  Oui Je T’aime finale number.
Dec 022011
 
In the summer I went to view a number of showgirl spectacles in Paris.  During the shows I made notes.  I wrote down descriptions and on the spot analyses of the displays in front of me.  I typed up my notes with the hope of using them in my writing, however I have found it hard to make them useful. As I just cut the words from my Chapter 2, I thought I’d recycle them here.  This is what I wrote from my not very good seat at the side of the stage, at the end of table I shared with noisy disinterested patrons.
Dance, Dance white caps, disco-dancing.  Older showboys.  Thong bum.  Parle Dance? Long hair through caps, high kicks, glitter.  Aujhord’hui 3 singing bun-heads, mics on face, string beads for a top.  Pleat skirt with feather trim.  Camp dancing.  3 nudes high-kicking.  Male dancers, dry ice, uniform-type hats, marching.  Female voice – la la.  Women with coloured trim dresses.  As girlfriends to soldiers.  Bead top.  Boobs covered for some.  Red dancing pom pom.  Slim thighs.  Amazing costumes with moving parts.  Juggler act to techno music.  Pirate number, men.  Hookers for pirates, hair down.  Boobs out and harnesses.  Sultry looking faces.  Pith helmet – safari suit.  Orientalism outfit.  Harem with beads and harem women.  Strange fan-like headdresses.  Cat-like women – leopards, enter wailing – ahhhhh, fight with soldier guards.  Body ripples.  Medusa.  Blonde girl slave enter.  Jumps into pool with snakes.  Snake dance underwater!  Kisses snake.  Couple fly in on string in neon and UV light.  Orientialism.  Pantomime.  Real boobs.  Featured act – male and female acrobat.  East-European looking.  Circus type ringmaster.  Clowns – men – mini horses walk on x 6.  Kossacks!!!  Orientalism less successful than using tropes from entertainment – girl clown number.  Pointing to own construction – more useful.  2 girls in one dress.  Lions – dancers as lions.  Wide trousers on clowns.  Drum bit featured act.  Audience interaction.  Mexico – big sceam from crowd “Mexi-co!!” “China” “Ukraine” “Brazil”.  Drunk woman – act – dancers clubbing, comedy.  Cancan, no men.  Men.  All cartwheel.  All cartwheel and splits – but male extra-flex man!  Boogie Woogie number.  3 singing women – English – all other in French – short-hair wigs.  Punks/Cher costume – zip t-shirt.  ‘New Generation’???  3 girls and all men.  “I will survive!” song.  Tom of Finland hat and jacket – strange Eastern European Eurovision moment.  Stage lowered with men.  Mirror ball man – over the top pink costumes.  Hip wiggle move.  Wardrobe malfunction –  lights not on on one side of pack.  Pink boots, thigh high and ankle.
Aug 062010
 

I saw the show at the Lido (http://www.lido.fr/us/cabaret-paris.html) and had great fun.  It was so camp its indescribable.  They feature showboys in their show as well as showgirls, and I have to say they just made me cringe (I’m cringing so much I cannot bring myself to type a description of their worst costume).  A featured act was a male acrobat who performed on two long bits of material.  He was incredibly strong and flexible and his costume was a small pair of white shorts.  I was interested to think about this.  Through the use of his body, he displayed both a masculinity (strength) and femininity (fluidity in his movements and flexibility), this routed his performance outside of camp, somehow and located him in some sort of more serious object-of-desire place, in a way that the showgirls operate.  The showboys, on the other hand, are total camp, in a way that sort of negates their skill and makes them look like a Butlins act.  They are not any sort of object of desire, they are, as far as I could tell, a tacky joke.  Of course, I have no access to the spectrum of responses that a gay male spectator might have, and who knows, perhaps they function as an object of desire for them.  My point is, for me, showboys, no.  (From other performance instances I can say, male showgirls, yes).
 
Watching Crazy Horse (http://www.lecrazyhorseparis.com/) I lost my visual innocence.  The cabaret featured a troupe of female dancers, who performed butt-naked except for a very small strip of what looked like black gaffer tape, strategically placed. Although there was an audience roughly evenly split between men and women, I felt transgressive watching it, as though the whole spectacle was directed towards a male spectator and not me.  It was by far the most knowing caberet-revue I have seen.  It reputedly crosses over with burlesque as earlier this year Dita Von Teese was their featured artist.  However, I think this says more about Dita’s hetero-normative position within burlesque that she can cross over into more overt stripping contexts, rather than Crazy Horse’s closeness to burlesque. 
 
I felt that the show did a number of things in terms of styling and choreography that took the whole thing far closer to a gentlemen’s club dance context.  For example, the lighting and choreography dissected the bodies so that we saw perhaps, only legs performing.  I found the amount that we did not see the faces of the performers quite shocking.  There was no opportunity for the performers to ‘send-up’ the performance with their faces in darkness or out of view.  I found this the hardest aspect to handle.  I also felt that the repetitive use of the arched-back position that pushes the bum out moved the performances away from mainstream theatrical dance technique (which is often clearly visible in burlesque performances and particularly at the Lido) and more towards of gentleman’s club stripping.  I realised watching the Crazy Horse that I actually need to watch strip shows featuring lap and pole dancing so that I can write about the gaps and overlaps between the different styles of performing I’m interested in.  The show also featured some numbers that felt really disturbing and uncomfortable, for example a solo performance with a dancer who commenced her number tied up in ropes, and then used the ropes as props to perform on.  It’s S&M references felt shallow and quite frankly, anti-women.
 
The featured act was a male tap duo, which came as a blessed relief.  Fully clothed, the two were fully spot-lit, used their faces, audience interaction, humour and a number of different tap dancing ‘quotes’ to create an entertaining number.  And then we had to return to the strobe-lit naked women.  It was like our one moment of fun.  The seriousness of the naked women was alienating, I longed to see some smiling faces!


Nov 222009
 

Winkle pickers, black shirt white waistcoat. Silver ballet flats, hookeresque platforms, red patent t-bar, 2 flapper head bands, 3 feather hair clips, fishnets, patterned tights, lots of black, feather boa, 1 scruffy couple, top hat, red stilettos, puff ball skirt, patterned dress with leggings with pixie / cowboy boots, stiletto platform oxfords, jarvis cocker with longer straggly hair, plaid shirt, jeans and doccers, purple chiffon wrap dress with boach, mini top hat, blonde dreadlocks (girl) with duffel coat, black trousers, Eastpak and trainers.  Fishnet stockings with visible suspenders, sparkly puff sleeves, man with dreadlocks, red and black corset with puff ball skirt, gatenet tights with patent black shoes, black dress with silver sparkles, red lippy with hair band, pin strip suit with waistcoat, shiny suit, grey suit, black shirt, purple tie and bald head, red tennis shoes, slacks and stripped shirt. Green strapless dress matching shoes and black jacket, 15 denier black tights. Sloochy top, mini skirt, leggings, big biker boots, addidas trainers, brown leather jacket and jeans, tartan skirt and black corset. High necked slinky dress with red and white corset, pink beanie hat, black layered frilled skirt, gothic flouncy coat, curler-ed hair. Flat shoes, vest top, satchel, curly mop over one side with stripe shirt, black waistcoat, converse with suit, glitter beanie, white thin cardie over dress, red corset with black lace, pencil skirt exposing hip bones.

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