Abstract
ABSTRACT Fin de siècle cancan dancers Jane Avril and Louise Weber (La Goulue) examined alongside the musical dance and song number “Big Spender” from Sweet Charity serve as examples of how decontextualization of images leads to essentializing the subject of the image that gives precedence to a male gaze focus. In analyzing lasting images of each form, not only through a lens of gaze theory, but with an attention to the evolution of concepts within the gaze, specifically John Berger’s Ways of Knowing and Amelia Jones’s Seeing Differently, perspective can be gleaned in approach to interaction with such works. Additionally, application of sociopolitical context bolsters perspective on the lives of the dancers, artists, and our own perception. Depth of interaction with these pieces sheds light on their value in subverting and distorting patriarchal structures that need to be understood and considered in contemporary collaboration with them.
Published Version
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