Aloha Creative

Betty's Shrine Shines | Image by Onur Ka

December 8th 2011 saw the walls of The Red Rattler shake like never before. A space for activism and art, this historical venue has seen a protest or two but none like the burlesque of Betty Grumble.

The mortal form of Betty Grumble; Emma Maye, invited this writer (and in another form a performer) along to her show “Gagging For It” to ‘review’ her work. The irony of reviewing, judging an activist piece on the very notion of women, the body, being judged was not lost on me and I was not the only one that was requested to give feedback. As the audience entered the red door of this warehouse, a creative space, we were handed a manila folder and 2B pencil. Within the folder was a scoring chart. Listed on the chart were the categories Betty was competing in and a space to mark our scores. However, it was Betty that was about to make her mark on our psyches.

As the promo for this onstage conversation stated; [and I say conversation because sitting back watching as Betty spoke to the audience they talked back with their bodies. At times individuals seemed to contort as though about to vomit, mouths gaped, brows crinkled...] Betty Grumble is a “former child-pageant star, beauty queen and burlesque heroine.”

Image by Onur Ka

Betty’s birth into the Australian creative space has been seen and felt by many, impacting on fellow artists and performers; inspiring photographers, writers and dancers alike. Legendary performer Lillian Starr explains Betty’s impact and interrogation of art space when discussing the event, a pageant of sorts; Miss Burlesque Australia 2011.

Throughout 2011 I had witnessed Betty’s burlesque – several different acts that individually grabbed me and slapped me in the face. Until experiencing “Gagging For It” I didn’t realise I had experienced compartmentalized pieces of an overall argument. I knew Betty had a plan… that was clear and all year I waited – waited for something. Here it was – better than I could imagine.

I could attempt to write about the political impact of Betty, but honestly I am too emotionally affected by the debate. I feel Betty’s grumble belly deep and I guess that was her aim – her impact on me so great that it’s impossible for me to be impartial – so I hang up my ethics as a journalist (yes, some of us have them) and share my voice, my story – that is after all what Betty and Emma both fight for.

If Betty and I had grown up together, in the same city, it’s likely we would have been competing against each other, especially in the talent section. Hair in curlers, blue eyeshadow right to the brow – this was my childhood on stage performing jazz ballet like many a young girl. If I had my way though I would have been a ballerina but that was not to happen because apparently, so I was told, I didn’t have the body type for ballet. Yes, on day one of dance term, after my Mother, a solo carer had made the sacrifices necessary to equip me with all of the gear required… I walked out of the studio, tutu in tow, with the words “body type – not right”, echoing in my head. Huh… body type? I was an ordinary 6 year old girl… ‘solid’ perhaps, but certainly no negative health issues and even if I had, what about giving a girl a go? All children have potential (the reason for my recent facebook rant when witnessing grown ups slam a child for being over weight, possibly hyperactive and involved in pageants – qualified or not – labeling a child as having a disorder is wiping away their potential).

A little grumble in all of us; I'm ready for my jazz ballet concert!

That aside, “Gagging For It” by Betty Grumble was an awakening. Throughout 2011 I witnessed Betty unleash parts of her grumble, hijacking burlesque events with her acts. Most shocking for me was not seeing her simulate shitting on stage, but rather her cash fans. These fans present the hardest hitting point for me – we can call burlesque art or activism – but it’s still commodifying the body – prostitution (I’m not saying that is necessarily a bad thing – there are pages of my writing to this point, but I’ll leave that there). As a dancer attracted to the glitter and lights of burlesque stages as a way to say “hello people, this is me, this is my beautiful body. Mine. And yes, society says I am ‘plus size’ but I am me. I am sexy. My sex and intellect combine. They are elements of my being. And… I can dress it and undress how I like” (ironically within social constraints which I choose to empower myself by recognising and accepting).

I like burlesque. I like what it represents. I don’t like all acts or all artists that I come across – but I support them for they all have a story, an inner monologue that drives them to undress. I am yet to explore Emma’s history – I only know what I have seen of her on stage and the beauty and kindness that I have encountered from her backstage…but I am moved. Thoroughly moved. And now it is I who is gagging for it. I want more Betty or anything which Emma has to give because her movement, her motivation is so inspiring. Food for thought which is healthy and so easily digestible.

Always entertaining and in parody, to me “Gagging For It” was a real burlesque show, a return to the art form that grew out of the middle finger to society during some of our lowest historical moments and what would be a bigger low than our current situation where we have access to information, mostly great wealth and privilege – yet still we do not see.

Betty’s pageant parade; “Gagging For It” is an R rated toddler tantrum, a discussion via a show of dance through an overall pageant theme. How this women; Emma Maye managed to package her argument into such perfect parts, to make complete sense, entertain and engage – can only be described as genius!

Image: Onur Ka

As Betty smothered her skin with layer upon layer of blood, dirt, alcohol and vomit, she made remarkable commentary on our society and culture. The overriding audio track (impressively mastered by Emma Maye herself) featured pop songs by the sexualised yet supposed virgin child ‘artist’ Justin Bieber and his track “Baby” – as well as Pussy Cat Doll’s “Don’t Cha” – a pop song that was commercially successful across the world. [Excuse me while I slap my head for a moment and wonder why it seems the majority of the planet are unaware of the competition between women - the sexualisation and comodification of everything...no, no - sex is not bad, no one is saying it is, nor is competition - but we denigrate women... we... we women buy this shit, sing it].  Catch phrases repeated throughout a particular segment, whilst Betty drank from a dog bowl, on all fours must have been the moment most poignant for me.  She was “gagging for it.” It was at that moment too that I wondered how I could help. Betty in a way, in this space, was preaching to the converted. Yes, like myself, I am sure all in the audience was affected, provoked to ponder on what they too could do, how do they fit within our society etc etc… but it’s when ‘ordinary’ middle class citizens attend a burlesque show, looking to feel risqué as they peep at a women’s parts… as they sip their champagne expecting…well, a beautiful women with golden skin, a taut body – they will get it – but then, with Betty they will also get more.

This is not so much a review – as a view – some of my thoughts and ramblings on Feeling the Grumble of Betty.

Many thanks to Onur Ka and Emma Maye for allowing me to use the images seen here. Thanks also to my Mumma – for encouraging me to dance and live out my imagination!

Image: Onur Ka