Looking back at the hoochie koochie shows, we might employ our sexist, orientalist, and post-colonialist readings fixed to the male gaze, gender and racial inequality, exoticism, and sexual objectification. Between the now and then, in the imagination; we welcome you to join usโฆ. Looking through our historical lens we cannot overlook discriminatory practices, as well as social and public policies; here in front of the many daddies, casanovas, marlboro men, peeping toms, pimps, pip squeaks, sharks, playboys, thugs, salamis, and whistlers, we might also find some agency in imagining minimal yet probable possibilities and forms of creative resistance between the cracks of history.
Perhaps these artists were well aware of plural modernisms, Spanish dancer La Argentina, Gaugain, naked versus nude, zen, free jazz, hula, questioning primitivism, and the seeds of third wave feminism yet to come at the end of the century. Who knows? Real differences between the performance of genders remains leaving a space of reflection on difference: between what we imagine and who they perform; as well as between what we imagine and how we perform as audience.
Inspired also by the writing of post-colonial feminist writer and filmmaker Trinh T. It needs us all, needs our remembering, understanding, and creating what we have heard together to keep on coming into being. Between the now and then, in the imagination; we welcome you to join usโฆ Looking through our historical lens we cannot overlook discriminatory practices, as well as social and public policies; here in front of the many daddies, casanovas, marlboro men, peeping toms, pimps, pip squeaks, sharks, playboys, thugs, salamis, and whistlers, we might also find some agency in imagining minimal yet probable possibilities and forms of creative resistance between the cracks of history.
Caen Amour.
