Thesis Re-Visited

[It’s] a popular notion, that it is exclusively suffering that produces good work, or insightful work.  I don’t think that’s the case. I think in a certain sense, it’s  a trigger, or a lever. But I think good work is produced in spite of suffering, and as a response, as a victory over suffering.

Leonard Cohen

I had the idea to read through my thesis, and post excerpts on my blog; I may still do that.  As always, I hesitate; I think that some of this work is of high quality, but I wonder how it will be received. I talked about my thesis and agonized over it for so long, that I’m not sure anything I could have created would have been worth the fuss I made about it. Then again, the only arbriter that really matters at the end of the day – my supervisor – gave me an A- on it. So I’m not really sure what I’m worried about in that regard. I suppose putting one’s work out there will always feel like an act of incredible vulnerability.

Reading my thesis in preparation for posting it reminds me of how far removed I am from the academic world; I admit that this reminder is somewhat disheartening. I’d have to read and study for months before I would become as well-versed in the theoretical language and literature as I was when I wrote the thesis. Furthermore, I don’t see myself having the opportunity to write something like that and become immersed in the acts of learning and creation anytime soon; I may not have an opportunity like that ever again.  I suppose my hesitation to post my thesis is borne from that sentiment as well, which isn’t exactly regret; I’ve just become aware that there’s a gap between where I am, and where I want to be, and I’d rather not think about it.  At the present time though, I’m a still a little too weary from the struggle to get through school to knit that yarn into motivation to go back.

Although there are ideas and passages in this piece that I wish I could have developed further, in some ways, that doesn’t really matter; what matters most to me about this work is that I finished it at all. I wrote it during a tumultuous time in my life, during which I was suffering from clinical depression and anxiety disorders. Hence, the Leonard Cohen quote above: this work is important to me for its merits as a piece of undergraduate-level scholarship, and because I see the completion of this project as a “victory over suffering.” I may always struggle with my mind, but this serves as a reminder that I can still (with a hell of a lot of effort, time, and support) complete the work I set out to do.

That’s what I’ll remember this piece for; this piece, with all of its glorious imperfection. Maybe one day I’ll regard the time of my life during which I wrote it as being “gloriously imperfect” as well.


After thinking and writing about it, I’ve decided to post excerpts from my thesis after all. These can be found on the following pages:

Dance Macabre: Women’s Experiences in Burlesque Excerpt 1 (Introductory Chapter)

Dance Macabre: Women’s Experiences in Burlesque  Excerpt 2 (Research Methods Chapter)

Considering Theory

Something I just thought about with respect to the puzzle of “what theory to use”:

Atkinson etc. talk about things people do in everyday life, and the overall idea seems to be that the people who are doing this are participating in it in an attempt to be or become normal/normative.  People who would read this as a “political” activity see “odd/disfigured” bodies as an attempt to critique norms, and at least has feminist potential – they’re trying to set themselves apart from norms, self-consciously.


My issue is, what’s actually happening here? It seems like maybe there’s potential to be “revolutionary” on stage, and maybe such an analysis is more applicable to an act that is obviously a performance, like burlesque.  The “feminist” or “post-structuralist” reading might be a useful way to interpret the behavior of people who use invoke those discourses to explain what they’re doing (so they might be doing drag, or performances that are obviously political).  However, it’s doubtful that everyone in the subculture is doing so. Moreover, in everyday lives, both “political” and “apolitical” burlesque artists are probably are trying to appeal to a sense of what is “normative” locally (in which case I am better off reading behaviour that only seems “different” the way Atkinson does – as a way of establishing one’s place within the “figuration.)”


I have an empathy for a politicized reading, particularly a feminist one. I want to think that there is something feminist about what these women are doing, and at times they do talk about themselves in feminist terms (the “heckling” incident inspired a conversation about what women “ought” to be doing that was overtly feminist).  But it’s difficult to say one way or the other – on the one hand, women may see this as empowering – on the other, being on stage may cause a woman to self-regulate to a greater degree (I note the tendency for women to put themselves on a diet/exercise regime around the time they start performing).


So my research question is really something like, “is a politicized reading necessarily the best way to approach the topic of women in burlesque? Under what circumstances might a politicized/post-structuralist/feminist reading apply?”

Dance Macabre: Performances of Gender and Sexuality within Sub-cultural Spaces

Proposed Topic of Study

I am interested in studying “burlesque” subcultures to determine why local women are engaging in a practice that can alternatively be read as a “simplistic display of the flesh” or a form of social critique (Nally, 2009, p. 622).  Arguably, the local burlesque subculture does both; it is exemplified by groups such as the Fake Moustache Drag King Troupe, and those involved in the annual variety show “Demonika’s Symphony of Horrors.” Although some burlesque troupes perform gender in more or less “straightforward” ways, others take up the art form’s historical use of satire, “performing” gender in ironic, “campy,” exaggerated, or “humorous” ways to critique gender norms (Nally, 2009, pp. 622 – 3,631 – 3). I am interested in understanding why local women are engaging in these practices. Do they offer a form of “freedom” from conventional femininity, allowing women to embrace “composite” sexualities and explore their desires (as some theorists claim)(Nally, 2009, p. 628)? What are these performances intended to signify within these subcultures, and how are they taken up by those outside the subculture (ie, by friends outside of these subcultures, co-workers, authority figures)? How do women negotiate their sexualized “subculture” identities with other social roles? Although “burlesque” groups in the UK and United States have received some attention from academics (and feminists), this project presents an opportunity to understand how local women are engaging with broader cultural trends.

Working Literature Review

From the literature I have reviewed so far, it seems like the topic of “sexualized self-presentations” (typified in neo-burlesque, as well as websites such as Suicide Girls, God’s Girls, etc) tend to be studied from a “post-structuralist feminist” and/or “critical race feminist” perspective (Magnet, 2007, p. 577; Nally, 2009, p. 622). Many of these perspectives discuss possibilities for agency within these “cultural” practices, yet express anxiety about the “libratory” potential of such practices when “subculture identities” have become commodified, and “meaning-making” of women’s identity work is an intersubjective process (and thus not entirely within individual women’s purview) (Magnet, 2007, p. 593, Nally, 2006, pl 621; Pitts, 2003, p. 73). On the other hand, the study of “body modification” itself is not always explicitly framed in “feminist” or “post-structuralist” terms; some approaches to the study of body modification “de-emphasize” these “politicized” readings, to focus on the ways in which “body projects” facilitate and gain meaning within social “figurations” (Atkinson, as cited by Pitts, 2004, pp. 382-3). Of course, there are also interesting perspectives from feminism and queer theory (Pitts, 2003, p. 87). The concept of the “queered body” might provide a useful way to read some of the more “non-heteronormative” gender work I might come across in my study (Pitts, 2003, p. 91).

Preliminary Research Questions:

  • Do these women’s  “performances of femininity” constitute a self-conscious “performance” of gender?
  • What meanings are encoded onto burlesque performers’ gendered, sexualized, and possibly modified bodies?
  • How are these messages “read” by women themselves, other subculture participants, and those outside the subculture?
  • Are these projects/performances indented to “subvert” the male gaze?
  • Are these women engaged in “stylistic,” “discursive” or “behavioural” resistance, or some combination of all of these (LeBlanc, 1999, pp. 17 – 18)?
  • Do they “succeed” in doing so (and what constitutes “success”)?
  • How and why do women engage with “grotesque” representations of femininity (Braunberger, as cited by Magnet, 2007, p. 581)?
  • Do women experience burlesque performances as acts of sexual transgression or eroticism (Pitts, 2003, p. 99)?

Preliminary Methods:

Qualitative Interview:

  • Population: women involved in body modification and burlesque subcultures in Calgary
  • Sampling method: Purposive/judgmental or snowball sampling; ie, “word of mouth”, postings on Facebook and mailing lists ) (Baxter & Babbie, 2004, pp. 134 – 5)
  • Obtain 3 – 5 participants
  • One semi-structured interview with each participant, one hour in length (Baxter & Babbie, 2004, pp. 329 – 330)
  • Topics: how do they define/describe themselves, personal or social significance of body modification, experiences within either the “burlesque” or “body modification” subcultures, gender identification, whether or not gender is important in one’s “embodied practices,” how they feel about their social location (as a “woman,” “performer,” “body modifier” etc.), experiences of sexual harassment/abuse as a result of their “different” identities (presuming they describe themselves as such)
  • Possible questions/prompts:
    • Can you tell me about experiences within (a particular “scene”)? (Baxter & Babbie, 2004, pp. 329 – 330)
    • How did you develop/create (a body modification or performance)?
    • Tell me more about (an experience/concept the participant identified) (Baxter & Babbie, 2004, pp. 329 – 330)
    • What does (a symbol such as an article of clothing, a particular body modification, or an event such as a performance) mean to you?
    • How do you think women typically experience (a scene, body modification, performance)?
    • Do you think women tend to experience sex/sexuality differently than men? In what ways?

Working Bibliography

Baxter, L.A., & Babbie, E. (2004). The Basics of Communication Research. Belmont, CA: Wadsworth.

Leblanc, L. (1999). Pretty in Punk: Girls’ Gender Resistance in a Boys Subculture. Piscastaway, NJ: Rutgers University Press.

Magnet, S. (2007). Feminist Sexualities, Race, and the Internet: An Investigation of New Media and Society, 9(4), 577 – 602. Doi: 10.1177/1461444807080326

Nally, C. (2009). Grrrly Hurly Burly: Neo-Burlesque and the Performance of Gender. Textual Practice, 23(4), 621 – 643. Doi: 10.1080/09502360903000554

Pitts, V.L. & Atkinson, M. (2004). Review Symposium: Health and Body Modification. Health: An Interdisciplinary Journal for the Social Study of Heath, Illness, and Medicine, 8(3), 373 – 386. Doi: 10.1177/1363459304043479

Pitts, V.L. (2003). In the Flesh: The Cultural Politics of Body Modification. New York, N.Y.: Palgrave Macmillan.