Showing posts with label Cat Gwynne. Show all posts
Showing posts with label Cat Gwynne. Show all posts

Thursday, November 6, 2008

Space Surfer

This is my new video for drum and bass duo State of Mind

"Space Surfer"


Director/Cinematography/Camera/Editor
Aleks Sakowski

Dancers
Cat Gwynne (Choreographer)
Anya Packham
Shara Gavina
Alexa Wilson
Mike Holland

Monday, September 22, 2008

The Unfortunate yet Penetrable Paradox of Feminine Beauty


After receiving awesome discussion from the mental-detox ladies (and Warren, kia ora!) in relation to my last blog on the over-sexualization of coloured women, I decided that I'd have a crack at articulating my position on the issue of Beauty as raised by Hayley J. This one's for you, girl!

The FEMININE IDEAL is an intangible concept that has been constructed by the media of western culture. This construction can be traced back to the earliest artistic depictions or representations of Aphrodite, the greek goddess of Love, Beauty and Fertility. These depictions of Aphrodite, usually with no clothes, wind-swept hair, and atop some sort of animal or sea shell, changed the understanding of Beauty from something that is experienced or felt, to something that is SEEN, thus giving rise to the notion that Beauty must LOOK a certain way.

Nowadays, as we all know, the bombardment of ideal feminine images is staggering, and such presentation of 'iconic' woman over the years has resulted in the development of eating disorders, skin-lightening ( re. Beyonce white-washing ), self-harm and suicide.

The survival of the FEMININE IDEAL as it has been constructed in western culture relies heavily on a dirty and powerful underlying paradox - that beauty is necessary for women to be validated, but that it will never be ultimately achieved. Artist Martha Rosler describes this paradox that all women face as being a 'simultaneous sinking and swimming' : The BEAUTY swims because she looks so good, and she sinks because she must work hard to maintain the status that her appearance has achieved for her seemingly effortless conformity to pretty picturehood. The NON-BEAUTY sinks because she fails at supreme femininity, yet she swims because in her appearance she has resisted the impractical model.

And so the media perpetually traps women in this notion of the FEMININE IDEAL, a concept that, although is a complete hallucination on our consciousnesses, conveniently controls the unpredictable, mystical and sacred reproductive body of the woman. The media projects 'looking beautiful' as a standard of success, as the ultimate validation by society. Thanks to the media, it is possible to recognize somebody as being beautiful by looking at a picture of them. You don't even have to meet them, get to know them, experience their energy. This is actually really really fucked, huh?! Oh, and the other fucked thing is this: You can never have joy in your own beauty, and when you most have it, is when you most have to try to counteract it, or you are accused of egotism, self-absorption and vanity.

Current feminist scholar Joanna Frueh discusses in her book Monster/Beauty the possibilities of destabilizing both the image and ideology of female beauty in order for beauty to be redefined. She suggests that this can be achieved by making conscious departures from the idea that beauty is dependent on looks alone by creating ourselves as AESTHETIC/EROTIC FIELDS of simultaneously concentrated and resonant sensuousness. Now you know when you meet someone who's aesthetic/erotic field is off the hook right? You know those ones that get labelled as being unconventional beauties, as having something about them that you just can't put your finger on. Well this just goes to show that the media trap of the FEMININE IDEAL is in fact entirely penetrable, and it is penetrable because it's not real.

I try to liberate myself from the FEMININE IDEAL by exercising what I like to call a Ghetto-Wave Feminism (lol!). Woman such as Trina and Lil-Kim inspire me in the strong way that they use the female stereotype that has been given to them by the media (over-sexed black woman), to oppose the oppression that is created by that very stereotype. Trina: "We livin' ghetto fab, we spendin' hella cash, this girl is hella bad, your choice is trailer trash."

Thursday, August 28, 2008

Making Love To The Audience



It's a bi-monthly evening intended to foster new performative ideas from Auckland's artistic community.

It is completely inclusive, any genre of performance is acceptable and given a home.

It's designed to give the pieces of performance which wouldn't otherwise have a home, a place to be shown and watched.

The only requirement is that all pieces conform to between 0 and 8 minutes in length.

The evenings are structured with short films interspersed through the performances, and there is always something to lick off a spoon.

POP ALONG TO CROSS STREET STUDIOS ON SATURDAY NIGHT AND CHECK IT OUT. FEATURING IMPROVISATIONAL DANCE WORK BY VAL SMITH AND SARAH GAVINA CAMPUS.

Friday, August 22, 2008

Hottentot, Jezebel, Hootchie Kootch, the list goes on...



Since the earliest encounters between Europeans and indigenous populations, history can show us that women of 'colour' have been portrayed as being lascivious, seductive, alluring, tempting and over-sexualized. During early colonial times when European travellers to Africa came across scantily clad women for the first time, the semi-nudity was of course interpreted through a pakeha lense as being lewd and sexually overt, a misinterpretation that would go on to influence the lives of 'coloured' women throughout history.

A particular historical atrocity that can be considered as being paramount to this stereotype is the case of Saarjite Baartman. Baartman, a young Khosian woman from Southern Africa who became known as the 'Hottentot Venus', was brought to Europe from Cape Town in 1810 by an English ship's surgeon who wished to PUBLICLY EXHIBIT the woman's steatopygia, her enlarged buttocks. Her physique, particularly her steatopygic appendage, became the object of popular fascination when Baartman was exhibited naked in a cage at Piccadilly, England.

The spectacle of Baartman's body, however, continued even after her death at the age of twenty-six. Pseudo-scientists interested in investigating primitive sexuality DISSECTED AND CAST HER GENITALS IN WAX. Anatomist Georges Curvier presented Baartman's dissected labia before the Academie Royale de Medecine, in order to allow them to see the nature of the labia. Curvier and his contemporaries concluded that Baartman's oversized primitive genitalia was physical proof of the African women's PRIMITIVE SEXUAL APPETITE. Baartman's genitalia continued to be exhibited at La Musée de l'Homme, the institution to which Curvier belonged, long after her death.

...And I would argue that this type of stereotyping still thrives in our current social contexts. It may be more invisible, it may be disguised behind Arts degrees and pseudo-liberalism, but it's still there. And not only does it exist, it is also a stereotype that is reinforced and played out by 'coloured' women themselves. I AM ONE OF THOSE. AND I DO IT COZ ITS EASY.

What interests me in all this, is the historical projection of the white male's desire onto these women, and a reciprocated desire by these women to be validated by these men via a sexualization of their identites. I will leave you with a couple of slamming and extremely controversial quotes belonging to an old school philosopher - Frantz Fanon - who wrote about this projection in early colonial times. It's a fairly dated observation, but brave as fuck and deeply resonating:

"Paridoxically, the racial gaze produces a twisted recognition. The White racist, who subjugated, enslaved and colonized African peoples, transfers domination into sexual fantasy. He desires AND fears the Black, who is perceived as the source of virility. White civilizations sublimation of libidinous drives, primarily sexual, finds an outlet in the production of the Black as sexual Other - deviant, oversexed, and sensuous. The Black male is synonymous with the penis, to be set alongside the 'Hottentot Venus' with an enlarged clitoris and buttocks. The gaze is simultaneously haunted by hate, fear, anxiety and sexual desire of the Black body. The racist gaze thus suffers from double consciousness, the consciousness of superiority and the consciousness of inadequacy, incompleteness, and incompleteness that is manifest in the visual desire of the Other, the Black Other."

"The racial economy of the colonial city, which has been experienced since childhood, becomes flesh in the woman of colour's subjective certainty. She wants to live in a mansion on the hill, dominating the city, and that can be made real by magically turning White. For the Black, there is no way out of the social structure except through the White world."

Monday, August 4, 2008

THE "SEXUAL INTELLECTUAL" CAMILLE PAGLIA

This is dedicated to a certain someone. You know who you are.

Thursday, July 24, 2008

Here are my performance pics for the week. As per usual, they fall outside of the Eurocentric ideals of performance and serve specific ritualistic functions within their communities. Fuck western theatre. Na just jokes.


Aborignal dance is the illest, I love the beats as well. Check out Grace Jones in the cowboy hat.




Performed for Buddha with a thousand hands. Talk about spirit fingers. Mean.




And this guy, well he's just straight chanelling...

Monday, July 21, 2008

ETHNO-TECHNO HYBRID ART




This freaky bastard is Guillermo Gomez Pena, a mexican performance artist who has greatly influenced me over recent years. His work confuses the way in which we think about culture by creating hybrid presentations of stereotyped identities. Pena has come up with 14 commandments for artists to follow. I kinda like them. Check it:
1. Work against formulas. If your art becomes easy to repeat, you are on the wrong path.
2. Challenge all forms of authority with an open and critical mind.
3. Share important information, like essays, hot websites, grant proposals, job applications etc.
4. Crossover with dignity into other territories (academia, the media, activism, etc)
5. Devote equal energy to work and play.
6. Be accessible to others.
7. Don't take yourself too seriously. Our work is both important and unimportant...like water.
8. Get your hands dirty; get involved in every aspect of production, from fundraising to designing lights and sound. Don't be a prince(ss).
9. Don't be a mindless bohemian. Always state your case, speak up, articulate your position, and engage in dialogue. If you don't speak for yourself, someone else will speak for you.
10. Support younger or less fortunate artists. Don't be selfish.
11. Keep your work seperate from your personal life. Never bring lovers or spouses to rehearsals or on tour. One day they will get jealous and set fire to your car.
12. Don't become sexually involved with your collaborators. Uncontrolled desire can turn the sanctuary of the collaborative process into hell for others.
13. Respect your elders and your predecessors. Treat us with tenderness, and then, when the time comes, kill us ritualistically.
14. Get involved with and make yourself useful to your local ethnic, gender-based or professional communities. if you don't have a foot on them, the wind will blow you away.
- Gomez Pena and his performance art group La Pocha Nostra have an off the hook website. You gotta see it...

Friday, July 11, 2008

DEAR ARTISTIC ACTIVISTS....


Being/living Maori is something that we will always have to nurture and put energy into before we can do anything else. This is because we live in a world that is dominated by a knowledge system other than that of our people. To the dominant culture our artistic practices may appear to be nothing more than a narrow-minded assertion of identity, but it is actually to do with a means of survival; something that I or any other indigenous person in a postcolonial context wanting to make change AND stay true to their culture should not have to be bound to, but is.


It is a process of always having to establish our own system of knowledge to work within before we can do the work itself. Our own frameworks. Which is hard when our system of knowledge is not implemented or lived out by the mainstream, and therefore is often misunderstood, misinterpreted and stereotyped. In fact, it even gets given the ill-fitting nickname of 'mythology' and I'm like hang on, there's nothing mythical about it, it's for real.


Having an activist flave to your artistic work can quite possibly result in your being labelled an essentialist and again I'm like, whatever: Until results are achieved from addressing the hegemonic power relations in this country and its institutions, until other cultural knowledges are recognized by the dominant one, then "essentialist" assertions of what seems to be a bordered identity are, in my book, completely necessary. Fluid understandings of borderless and culturally complex identities are the ideal, yes, but can only be achieved if minority cultures and their knowledges are first seen as acceptable and official in the eyes of the colonizers. Just sayin'.


As contemporary artists it is our place to work our tits off at having our knowledge recognized and made official so that our kids and grandkids won't be misunderstood. Art is the best way in which to do this, because it's easy to con the audience (pull on heart strings etc). Let's build our kids a pimped out whare in which to be themselves. That is, the for-real version of themselves.


Peace. xo