By Chris Bruckert
This publication is a cautious, studied, theoretical stroll via "women and work." the writer interviews girl strippers to bare the center of the area of the pro stripper. Bruckert contends that the audience's studying of the stripper's sexualised shape doesn't erase her authorship; she is ready to "put on" the viewers whereas she is "taking it (her outfits) off." Bruckert used to be herself a stripper, and writes of feeling objectified via the standard feminist research of strippers. those emotions have been the catalyst for her curiosity in ladies and paintings. She makes use of her intimate wisdom of the realm of the stripper to trip to the center and soul of the and permits the voice of the stripper to end up the "subject" in an event within which she is mostly objectified.
Read or Download Taking It Off, Putting It on: Women in the Strip Trade PDF
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Additional info for Taking It Off, Putting It on: Women in the Strip Trade
Observation suggests that their primary task is to ensure that strippers comply with the expectations of the club. For the worker, this relationship resounds with the flavour of obligation, not to mention power. Although perceived as inevitable in some areas of the industry, the essentially exploitative nature of the relationship is not lost on the workers (Tracey, 1997). Alex was particularly outspoken: "They're whore masters! " THE STRIP CLUB Historically, burlesque theatres and nightclubs have run the spectrum of plush to Spartan.
Unfortunately, my research sheds little light on the question of how race/ethnic stratifications within broader Canadian society condition the exotic-entertainment industry. None of the strip-club managers in the community where my research was conducted ever, to the best of my knowledge, discouraged any woman from working in their clubs on the basis of race or ethnicity. Furthermore, during field work and interviews, the issue of race/ethnicity did not emerge beyond a denial of racism by the two women of colour interviewed and a number of disparaging comments regarding the ethnic background of particular club owners.
In contrast, freelance dancers rotate among clubs. They do this for a number of reasons: to stave off boredom, for example, and to maximize their earnings. The outcome is complex. Freelancers are more vulnerable, but since they are not associated with any particular club, they are better positioned to remove themselves from the stressful and competitive internal dynamics that develop within one club or another. The labour experience of "features," the elite strata of the industry, is strikingly different from that of most strippers.