The World of Erotic Dance-Part 2
“The most beautiful things in the world cannot be seen or even touched, they must be felt with the heart”-Helen Keller
The World of Erotic Dance Culture Part 2
Sexuality: The state of being sexual; involvement or interest in sexual activity; sexual appeal or potency.
[1] Dance: is an art form that generally refers to movement of the body, usually rhythmic and to music.
Evolution: a theory of development from earlier forms, developmental process, or gradual development.
The tertiary terms of ‘sexuality-dance-evolution’ are all an explicative format, which only touches the surface, of this psycho-sexual phenomenon, I term, the Aberta Desperta; furthermore, as I continue my exploration of the erotic dance culture, I have been developing continual physical evolution in the techniques of grappling, mediation, and yoga equivocal to the erotic dance forms. From each technique one is trained to be aware of the presence of the self; in the self, one is to gain different skills; in these different skills, one could discover an identity. To clarify, here is the follwoing statement pertaining to the ‘Aberto Desperta (the great awakening),’ defined as, “[2] the origin of our stimulus (whether sexual, psychological, social) where all is rooted from the conscious to the unconscious.” The outcome is the initiation one seek to fill the missing pieces in one’s quest for the unknown self. When one walks through life aimless-reckless, one contemplates a multitude of supplications; these supplications would arrange these arguments int inquisitive insights such as: Why am I here performing such an act? and/or, What would I gained from these actions in a sense beyond the superficial reins of the present environment? Those supplications are retorted by the Aberto Desperta; it’s collective and it’s progressive in a nut shell. The Aberto Desperta (the great awakening) is the basis for Part 2 of the World of Erotic Dance Culture.
These erotic dancers have abilities beyond their comprehension; yet, there is something more lurking within each performer as they open their hearts and their souls to means beyond what their inhibitions and their inhabitations exist as the present moment. As stated in the first chapter of the book entitled, ‘[4] The Perfection of Yoga,’ “The yoga system in Bhagavad-gita is especially meant for purification. The aim is threefold: to control the senses, to purify activities and the link to oneself….” Thus, I want to open your minds to what these dancers may experience and what you could experience as human (erotic-sexual) beings. There is no time like the present, and presently, these erotic dancers may hold some of the keys that many human beings have, yet, to solve about the vessel that contains the self; so, how has the erotic dance begin to solve this puzzle of the ‘great awakening?’
Aberto Desperta (the great awakening)
First, let me fully state my definition of the [2] Aberto Desperta (the great awakening), “the origin of our stimulus (whether sexual-psychological-social) where all is rooted from the conscious to the unconscious; henceforth, the principle actuality precludes the sanctity of the roots of one’s identity as an individual in any reservation relating to one’s bodies-one’s mind-one’s spirit encounter in a variety of attractions produced from one’s unconscious expressions of joy, passion, love, and sensuality. The conclusion is one hope to attain the unattainable, see the undetectable, know the unknowable, believe the unbelievable, and cultivate the uncultivable spirit within oneself.“
This ‘great awakening’ pre-tells the deep rooted abilities our bodies contain from the discovery of our past-present transgression toward a more evolved state of consciousness. These states are gained through movements and alchemical representations of the alter-conscious state via the human body-the vessel. Those moments when an erotic dancer perform is as one would ascribe an ‘outer-body‘ experience; as for, every breathe is an injection of nourishing effulgence evoked from the pleasurable performance and opulent movements divested from the vessel-the body. I read an academic paper on-line entitled, “Taoist Yoga and Inner Alchemy” with a section entitled ‘Methods of Holding the Three Ones‘ which, stated the following, “This ‘refinement’ and ‘transmutation’ involves the manipulation of three cosmic energies that exist in the body and pervade the entire universe. These are the life giving forces that caused the creation of the cosmos from within the void, giving birth to life and death in all things. When these powers are cultivated and refined within the body they return to their pure cosmic form, thus becoming the sources of life and light, bringing about an awesome transformation.” This ‘reformation’ is the ‘transformation’ an erotic dancer should experience in each performance, thus, the human body effulgent delivery of affluent sensation energizes an audience, and radiate their presence, from each breath the dancer circulates through their vessel to the air. The ‘great awakening‘ has perspired on stage and inspired all the rage. The connection has been made and the performance has been concluded; however, what has been gained within the self of this transmission of energy? What does this ion of spirit, sweat, erotic-exotic emancipation entails?
Sexual-self
As I stated in my paper on the ‘[2] Aberto Desperta (the great awakening),’ “The body is the base, origin of all ‘chi’ and ‘energy,’ where generative fluid is procured (in the stomach region- mid-section-pelvic area).” This area is the cultivation of energy; the stimuli of one’s arousals, one’s attractions, and one’s memories that derive from one’s sensations. The ‘sexual-self‘ is attached to ‘identity‘ as an apple is attached to the branch from the tree it was grown upon.
This sort of experience is a gift for anyone has the choice to obtain its empirical manifestations; yet, many people are controlled by their inhabitations and their inhibitions. Yes, we know basic knowledge derives from experience from books or classroom instructions, yet, this alone, will not suffice total comprehension of this exercise. The ‘self‘ is focal remuneration of one sexual-psychological-social well-being. As Krishnamurti has quoted, “[6] As I said, fear is not an abstraction; it exists only in relationship.” There is no other way, in which, one could ascertain facts in emasculating the complete picture without breaking the barrier that binds one. One has to experiment with these vices, when the opportunity presents itself. You want to touch the sky and walk from the deep cravens of the shadows then break-free from the ghost of your dark silhouettes. There is no other way to put, “one must let thyself be naked to the world, but, first, one must learn to be naked alone with thyself.” Furthermore, are there individuals who exhibit such an exemplified statement?
“[2] What is Beauty? I don’t know, I think it’s something that comes from hard work and suffering. And a lot of it is from isolation and pain….I guess that is beauty something that comes from within.”-Jade Blue Eclipse
Notes from the Underground
This exemplification process simulates, as if, the butterfly is breaking-free from its cocoon at the final approach toward progression. Not everyone has a natural inclination to become fully involved in their bodies; too be naked, independent, pure, and free. “[4] What is called renunciation is the same as yoga, or linking oneself with the Supreme.“ It takes a gigantic amount of strength, courage, and confidence to become an individual who has an ‘identity;’ especially, as an erotic dancer. This beauty is an aura attached to the individuals who can accept life as more than an illusion and a gratification of the flesh.
First, I would like to introduce ‘Jade-Blue Eclipse‘(she is pictured in the b & w photo above in the ‘scorpion asana’). She was a woman that received conditions influenced by her renunciations. She was bound for failure at the moment of wit’s end; however, she didn’t seem concerned with her dire demise. She lived up to her potential while working as a ‘street performer-prostitute-erotic dancer.’ [3] ‘Later, she trained as an acrobat under the tutelage of a famous Chinese acrobat instructor Lu Yi at San Francisco’s ‘Circus Center.‘ Jade-Blue training was intense, inspired, and diligent with remunerate results. As she said in an email from an article written by Mary Spicuzza in the SF Weekly, “[3] But to find the beauty in life, in living in joy — I feel that is very much my service.” Jade-Blue unearthed many ideas about herself as a sex worker/erotic dancer, yet there was something more brewing in her spirit. She collected levels of supra-natural ability as a vessel collecting remuneration means, in a variety of techniques; however, Jade Blue must consider one thing: what more could she cultivate at this level?
Lastly, I want to introduce one more character from the book ‘Bare’ by Elizabeth Eaves,’ ‘Kim a.k.a Maya.’ Kim came from a heavy catholic background on her father’s side of the family. Kim was a student at Wesleyan University in Middletown, Connecticut. She moved to Seattle where she owned a house (money came from her mother’s inheritance), acquired property in Central America, and she worked at an abortion clinic while pursuing her studies in medicine. She discovered erotic dance from an event called ‘Playday.’ As time progressed while Kim was an erotic dancer, she considered the following, “[5] Kim said she often felt like a healer….the booth also gave her much cause to consider the question of nature versus nuture.” Moments like these gave Kim a different view on what she did as an erotic dancer. Kim receive a clear comprehension of her status, her lifestyle, and her power as an erotic dancer, she discovered her alter ego brought closer to her self-her true ‘identity.’ She had two different personalities: Kim, the very conservative catholic girl from Middletown, Connecticut, and the other is Maya, the erotic dancer, who was the centerpiece in the booth to the admiration of many men in a mental, physical, and emotional attraction. Maya’s dominant nature allows her the opportunity to have limitless freedom, yet in the relation of this alter-ego(alter-state) did she ascertain her true ‘identity?’
The Future of the Aberto Desperta (the great awakening)
The future remunerations in the Aberto Desperta are plentiful. As one will seek one shall follow; however, what one may discover is a whole complexity of psychological infrastructure with deep, rich textures of birthing conscious schemata. As Krishnamurti has said, “[6] To deny, to negate everything that is not love, is love….out of that total negation comes love.” Yes, our negations are borne of our laborious duty to explore our quest; our quest constructs into a symbol of our love. Our love cultivate from our ‘identity’ that is the result of our progressions and/or our transgressions. The level any of these erotic dancers obtain in exercises of physicality is to be worshiped and to be witness. We all can’t be open-naked-free to a group of individuals without some considerable inspiration of the self; this implication builds a character secure in the nature of its inhibition and its inhabitants. There must be a level of comfort that one must ascribe at the foundation of such a phenomenon.
Jade-Blue Eclipse and Maya left us with explicative models symbolic to the Aberto Desperta capabilities. They both had foundations of carpeting that could of very well been the means to their transformations; however, they questioned those values with the expressive means leading to a supra-natural existence beyond their comprehensive intellects!
The erotic dance is as the definition states about erotic, ‘[7] the attempt through various means [sexual arousal, in this case] to incite those feelings.‘ Jade-Blue and Maya were very powerful in their approaches of erotic fantasy-play. They understood the ‘pleasure principles’ that illicit responses and behaviors from their audience; thus, the accolades were innumerable. In Part 3 of the World of Erotic Dance Culture, I will present different examples of erotic dance styles and evidence that correlations between yoga, meditation and erotic dance movements-philosophies. The information is richly resourceful and extremely proactive in my synopsis and evaluation of the Aberto Desperta; however, the lingering query is what happens next
? Once you have reached one level, where does one proceed from the initial point of arrival? Will there be another point, another level? Well, as the sun rises, so does it set; yet, when will this revolution cease to end?
REFERENCES
[1] Dance. (2010, September 8). In Wikipedia, The Free Encyclopedia. Retrieved 21:36, September 9, 2010, from http://en.wikipedia.org/w/index.php?title=Dance&oldid=383709646
[2] Middeton, D. (2007, December 14). Aberto Desperta.- Continuation into the situation of the complexity of sexual identity. Self-Published.
[3] Spicuzza, Mary. (2007, January 24). A Twisted tale. SF Weekly, Retrieved from http://www.sfweekly.com/2007-01-24/music/a-twisted-tale
[4] Prabhupada, A.C. Bhaktivedanta Swami. (1972). The Perfection of Yoga. Los Angeles: The Bhaktivedanta Book Trust.
[5] Eaves, E. (2002). Bare: On women, dancing, sex, and power (hardcover). New York: Seal Press.
[6] Krishnamurti, Jiddu. (1994). On Love and Loneliness. HarperOne.
[7] Eroticism. (2010, September 1). In Wikipedia, The Free Encyclopedia. Retrieved 19:34, September 6, 2010, from http://en.wikipedia.org/w/index.php?title=Eroticism&oldid=382306041
About the Author
I am a senior psychology one semester, more like one class, away from my Bachelor’s Degree in Psychology. My passion is writing, poetry, Buddhism, photography, and the hidden desires of the human existence. Call me a “dreamer”, a “fool”, or “existentialist”, but life is what you see of it by your own heart, your own mind, and your own soul. This is what I term: SOULFLY! Volta!
What is my motive in wanting to be free? I suddenly realize a motive gives me direction, and that direction will dictate my freedom.” Krishnamurti, On Love and Loneliness, P. 76
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