Showing posts with label erotic. Show all posts
Showing posts with label erotic. Show all posts

Saturday, April 24, 2010

Layer 287 . . . Free Spirits, Physical Intelligence, Nukes, Burlesque and Women's Liberation.

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An aspect of human wellbeing that Oxzen has occasionally referred to, but not examined in depth and detail, is physical intelligence.

The human body is an incredible achievement of nature. Thanks to scientists like Darwin, Crick and Watson we've begun to understand how we evolved from the Big Bang to where we are today, via DNA and natural selection. The human body should be respected, celebrated, protected and looked after.

Oxzen, of course, is not one of those who believe that God created the universe and everything in it, including the first human being, who, for some reason, he called Adam. Allegedly.

Oxzen is not one of those who believe that God created the first woman from one of Adam's ribs.  Oxzen has yet to discover why God decided to somehow create the first woman from one of Adam's ribs, instead of using the same stuff he used to create Adam.

According to my DK Bible, "Adam and Eve walked naked and happy in the garden, and had no need of clothes." More of nudity later.

No matter. We've arrived in the 21st Century, at a point in history where we can witness fierce debates about the need to spend untold billions of pounds of our taxes on nuclear weapons to commit mass destruction on other human beings . . .  whilst at the same time millions of our fellow human beings, in cities and towns everywhere, are living in poverty - for want of the means to earn a decent living, and for want of decent levels of social security and old age pensions. The people who shout the loudest for more WMDs are not those who're living in poverty.

We're living in a time of bread and circuses, a time in which most people prefer to spend countless hours watching talent shows, soap operas, game shows, Top Gear, Dave, poker, snooker, sport, Big Brother and property development tips programmes . . . rather than spend a single minute taking care of their bodies and souls, or reading a book to a child, or trying to figure out why we should maintain a nuclear arsenal AT ALL, when Germany, Spain and Italy aren't bothered about whether or not they can nuke China - but especially before we've enabled every citizen to live in a decent home with enough money to feed and clothe their children properly.

We're living in a time when a young man, who's apparently a serious candidate to be the political leader of our country, can blithely talk about needing bigger and better nuclear weapons with which we can attack China, or 'defend ourselves' against China, which is a country that hasn't even threatened to attack any other country, let alone ours.

And on this point - a brief digression. In a nuclear conflict, which country is likely to emerge in a worse state - China or Britain? Answer - neither. We can't even imagine what we'd do to the planet if we filled the atmosphere with billions of tons of impenetrable toxic nuclear dust, a billion times more than the dust from an exploding volcano. Cormac McCarthy imagined it and wrote a book called The Road. Those of us who were unfortunate enough to survive the blast and the radiation would have a lot more to worry about than not being able to fly in airplanes.

Where was I? Oh yes. We re living in an age in which a team of 30 or so doctors and nurses spends 24 hours transplanting the face of a dead human being on to the head of a living person, and in which millions of children have no-one to read with them or talk to them; millions have to make do with bad housing and bad food.

In the week of the face transplant our capital city is holding a Burlesque Week, which looks like becoming an annual event. The daughter of a friend is taking part. It seems London is full of women of all ages and all shapes and sizes who are learning to be burlesque performers, and to do other things which appear to be celebrations of the human body and human sexuality, such as pole dancing. I'm not aware, as yet, of any amateurs who are learning to do lap dancing and table dancing just for fun , but you never know.

The popular burlesque show of the 1870s through the 1920s referred to a raucous, somewhat bawdy style of variety theater. In 20th century America the word burlesque became associated with a variety show in which striptease is the chief attraction. Although the striptease originated at the Moulin Rouge in 1890s Paris and subsequently became a part of some burlesque across Europe, only in American culture is the term burlesque closely associated with the striptease. These shows were not considered 'theatre' and were regarded as 'low' by the vaudevillians, actors and showgirls of neighbouring theatreland.

In the 1930s, a social crackdown on burlesque shows led to their gradual downfall. The shows had slowly changed from ensemble ribald variety performances, to simple performances focusing mostly on the striptease. - Wikipedia


http://www.schoolofburlesque.com/

We assume that in the first era of burlesque most of the performers allowed themselves to be exploited by accepting relatively paltry sums of money in exchange for performing dances involving the shedding most of their clothing in front of a largely male audience.

What seems to be clear in this second era of burlesque is that there are 3 categories of performers. Firstly there are those like Dita Von Teese [ http://en.wikipedia.org/wiki/Dita_Von_Teese ] who are paid huge sums of money for their appearances and performances, and become very wealthy. It's hard to imagine how these women are exploited, unless you want to say they're exploiting and degrading their own bodies. Others would say they re simply making very good use of their own bodies to make money as an artist and a skilled performer, which many of them undoubtedly are - even if it's not exactly 'high' art.

The second category consists of women who are paid small sums of money for entertaining punters with performances which they may or may not enjoy doing. Those who don't actually enjoy burlesque dancing, if there are any, presumably make their living in this way because it's their least bad option.

In the third category are women who are pure amateurs - whose amour is for the pure joy of performing.

So what is burlesque? It's a form of dancing in which the outer layers of clothing are quickly removed, and for most of the dance the woman performs in her underwear - knickers, bra, corset, stockings and stiletto shoes - sometimes with the aid of props, such as large fans. Usually the stockings are peeled off, but never the knickers, which are often big and frilly. There's never even a suggestion that they might be removed. Some women choose to wear thong knickers that reveal their butt cheeks.

The bra, on the other hand, always comes off - usually right at the end, with a dramatic flourish, and it's twirled above the head of its wearer.

Underneath the bra the performers wear colourful nipple caps, sometimes with tassels. No nipples are allowed to be shown or seen.

Some performers have developed the knack of counter-rotating their nipple tassels by swinging and wiggling their breasts, and this becomes the grand finale of their act. Most dancers end by simply exposing their breasts to the audience, and enjoy the applause briefly before striding offstage.

It seems most of the women who go to burlesque classes are young and well-paid  professionals who have no intention of taking up dancing as a career. They do it for fun, for a thrill, for the sheer excitement of taking off their clothes and exposing their breasts and their bums in front of an appreciative audience.

These days lots of men (and women) are keen to pay 20 quid or so to watch women remove their clothes and expose their bodies. Whooping and cheering audiences provide the dancers with recognition and appreciation, which may contrast strongly with what happens in the rest of their lives - professionally dull and domestically boring - lacking in appreciation, affection, excitement, joy, stimulation, etc. Maybe this public display of their bodies and their sexuality  is a compensation for the lack of vibrancy and sexuality in the rest of their lives. On the other hand, it might be an extension and a continuation of how they live. It could be interesting to do a survey.

Physical intelligence is important. Sexuality is important. Everyone should take care of their body and  feel proud of their body. I doubt if it's possible to buy a completely new face, and you definitely can't buy a new body - only alterations to the one you already have. It's important to use it, and not abuse it.

We need to make the most of our bodies and their precious physical senses, and use our eyes, ears, etc to the absolute maximum, to keep us properly in touch with our world, to inform our perceptions and our awareness. Humans need to touch and be touched. The more physical intelligence - and social & emotional intelligence - there is in the world, the less likely it will be we'll end up fighting and killing one another. Though there will always be mad politicians, calling themselves realists, who'll cheerfully consider dropping the big one, come what may.
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Wednesday, July 30, 2008

Layer 60 Klimt

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It doesn’t seem possible that the Tate Liverpool's exhibition of Klimt is the first ever exhibition of his work in this country. Are we not a nation of art lovers?

How can this be? Perhaps this lack of interest in showing Klimt’s work has been somewhat connected with the fact that Klimt and the Secessionists believed that sexuality is the key to human liberation and fulfillment, and that a good deal of Klimt’s work is highly erotic and a celebration of the beauty of the female form. The current concerns manifested in the British media with sex education and teenage pregnancy are showing us, as ever, how much we still fear and tend to avoid explicit conversation and discourse about sex.

Like his contemporary, Sigmund Freud, and Wilhelm Reich, another resident of turn-of-the-century Vienna, Gustav Klimt focused a lot of his creative energy on the subject of sex and sexuality, and believed that sexual & emotional health and sexual fulfillment play a vital role in human wellbeing - more vital than wealth or status, more important than bourgeois ‘respectability’ and material comfort and security.

Our society’s historical aversion to full-on engagement with human sexuality in any mature way is reflected in the actual location of the Tate show’s semi-darkened room containing drawings of women nudes masturbating - with genitals, fingers and splayed thighs depicted in loving detail.

This small room, which is more like a room within a room, is situated right at the end of the exhibition, and visitors have the option of walking straight past it, and avoiding it, in order to go out of the exhibition, and into the bookshop and merchandise area, where there's a variety of Klimt shopping bags, posters, key rings, fridge magnets, vibrators, etc, on sale.

(I made that last one up. Though they say the Anne Summers shop in the main shopping precinct is selling an exciting range of Klimpt Klit Stimulators, specially commissioned to coincide with and cash in on this exhibition, which is pulling in visitors from far and wide - people who would normally no more visit Liverpool than they would New Brighton or Birkenhead.)

But truthfully, when was the last time anyone went to an exhibition and saw erotic drawings like these by a major artist, depicting this important but virtually taboo aspect of female sexuality? Surely nice girls don't do that kind of thing? Actually they do, but you'd never know it from the output of the world's best-known artists. Klimt is unique, in very many ways.

(To be fair, nobody does paintings of men masturbating either, but that’s another story. At least everybody seems to know that men actually do it, whilst women’s self-pleasuring remains a subject surrounded in mystery, even to many women, unless you happen to be into pornography, which his critics actually accused Klimt of being. ‘Accused’, you see. Like it’s a crime he committed by creating powerful images of beautiful and erotic women, no matter how willingly the models posed, and how much they presumably enjoyed posing, since Klimt was said to have made love to most of them.)

I remember how startling it felt in the Musee D'Orsay a few years ago to come across Courbet's incredibly naturalistic and highly erotic painting of a model’s genitals with her mass of dark pubic hair. Was it OK to stand there and stare at it, like you would any other exhibit? Interestingly no-one else did. Yet it's a wonderful picture, aptly titled "The Origin of the World". (L’Origine Du Monde)

http://en.wikipedia.org/wiki/L%27Origine_du_monde

And it was interesting to observe visitors, including pairs of young women, in the masturbation room in the Tate, where there were also some drawings by Klimt of couples in various stages of love-making. Interesting to observe their somewhat embarrassed and giggly interactions. Clearly, walking round in silence was not an option for cool connoisseurs, but neither was any thoughtful or normal conversation. The attitude seemed to be that one should either be embarrassed, indifferent to, or amused by the drawings. Like it was impossible to be turned on by them, see oneself in them, or just simply enjoy them for their artistic genius.

It was also interesting to consider whether Klimt ever developed any of these drawings into oil paintings - which seems highly likely - and if so what happened to them, and where they are now. And if he didn‘t, why not?

Could it be that to acknowledge that women masturbate would be to acknowledge that women enjoy sensuality, sexuality and orgasm? Enjoy them, need them, and desire them. And how difficult and dangerous would that be for so many men, the majority of whom in Klimt‘s time and Freud‘s time, and it seems often in our own time, are pretty clueless about female physiology and sexuality? Why else do so many women desire, enjoy, and often prefer, vibrators?

Whilst he also painted superb landscapes, and clearly enjoyed painting well-to-do women in fabulous dresses, Klimt didn’t shirk the need for the artist to engage with the sexual and the erotic in the quest to illustrate and depict the human condition, which after all is surely the foremost duty of any artist. Human love, tenderness, desire and intimacy are at the very heart of our lives, or at least ought to be.

Human sexuality is mysterious and yet enormously important for most of us, and the role of the artist is surely to shed light on the emotional and spiritual aspects of our instinctual drives. But how many of us have been enriched and enlightened in this way? How many artists down the centuries have been capable of engaging with such challenging subject matter? It’s impossible to see Klimt’s work and not reflect on ourselves, our sexuality, our desires, our ideas of beauty, our need for kissing, for intimacy, for holding someone close, for physical union.

One of my favourite Klimt paintings, Nuda Veritas, The Naked Truth, is very explicit. A curvaceous nude with lovely auburn hair cascading over her shoulders stands facing the viewer, with lips and legs slightly apart, holding up a round mirror, in which we see our own reflection.

She’s a tall, proud, unabashed figure, asserting her nakedness and beauty, her naturalness, her attractiveness. Her only adornments are a few white daisies, which she’s fastened in her hair. But she’s confronting us with the mirror - daring us to look in it and thereby become aware of our own reactions to her. So what are they? Admiration? Appreciation? Attraction? Desire? Fear? Embarrassment? Envy? Resentment?

She’s not being deliberately provocative - she just IS. As pure and innocent and unadorned as any living creature. Klimt is giving us the naked truth - about another human soul, and about ourselves - if we only care to look. Yes folks - underneath those gorgeous dresses and gowns, this is what women actually look like. Is this a problem? Is this pornography? Or is it a source of awe and wonder, joy and fulfillment?

The printed guide to the exhibition describes the city of Vienna at the turn of the century, and says it was a place where “Sigmund Freud’s theories positing sexuality as a liberating force were highly influential, contributing to an overarching atmosphere of eroticism.” It goes on to say that “Against this backdrop Klimt put the female form centre-stage, oscillating between the extremes of woman as immaculate virgin and sinful seductress.”

The oscillation is the interesting part. Klimt is too much of a realist to have a simplistic view of women as either virtuous virgins, wives and mothers on the one hand, or whores on the other. As an artist he recognizes that every woman contains within her all the stereotypes, and travels through life, whether or not she admits it to herself or others, somehow oscillating between all of them. A woman’s capacity to experience arousal and desire may be stunted or wrapped in chains and vows, but the point is that she has the potential to experience and express herself and her needs sexually. And this was not a commonly accepted view prior to Freud and Klimt and the Secessionists.

The Tate’s booklet tells us that Klimt’s drawings “record the artist’s private investigation and explicit celebration of female sexuality”. And this is where he was such an iconoclast and pioneer - not only celebrating female sexuality, but doing it so explicitly. And for this alone, if for nothing else, he deserves recognition and praise.

Some of the other great pictures in the exhibition include portraits of Hermine Gallia, Eugenia Primavesi, Joseph Pembauer and Helene Klimt. There’s also the stunning Adam and Eve, Judith II, and The Three Ages of Women.

Finally, there’s a reproduction of the Beethoven Frieze, at eye level around three walls of a room. And it’s a truly symphonic piece of work, with so many elements that are in turn elegiac, erotic, spiritual, carnal, joyful, melancholic, lyrical and simply beautiful. One of the newspaper reviews dismisses it as merely a reproduction and not worth including in the exhibition, but for those of us who’ve had to make do with looking at disconnected details in books, and who aren’t likely to be visiting the original in Vienna any time soon, many thanks.

http://www.tate.org.uk/liverpool/exhibitions/gustavklimt/
http://en.wikipedia.org/wiki/Gustav_Klimt
http://en.wikipedia.org/wiki/Vienna_Secession
http://en.wikipedia.org/wiki/Wilhelm_Reich
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article4014012.ece http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2008/06/03/baklimt203.xml
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