Dance
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Strauss's opera, in particular, seems to have inspired a curious ideological view of the story of Salome as a metaphor for a whole host of modern social problems and historical phenomena -- such as child abuse, sex-slave trafficking, the rise of Fascism, and imperialist/capitalist exploitation of the Third World. The association of Salome's Dance of the Seven Veils with Fascist appeasement and collaboration (and laced with modern BDSM-fetish iconography) is made quite explicit in Liliana Cavani's film, ''The Night Porter''. | Strauss's opera, in particular, seems to have inspired a curious ideological view of the story of Salome as a metaphor for a whole host of modern social problems and historical phenomena -- such as child abuse, sex-slave trafficking, the rise of Fascism, and imperialist/capitalist exploitation of the Third World. The association of Salome's Dance of the Seven Veils with Fascist appeasement and collaboration (and laced with modern BDSM-fetish iconography) is made quite explicit in Liliana Cavani's film, ''The Night Porter''. | ||
| − | + | Other films which depict the story of Salome with an implied BDSM subtext include Pier Paolo Pasolini's tendentious ''The Gospel According to St. Matthew'' and Ken Russell's burlesqued ''Salome's Last Dance''. | |
==External links== | ==External links== | ||
Revision as of 18:34, 14 December 2007
Some dominants enjoy seeing their submissive dance for them, and quite a few submissives, especially females, enjoy the pleasure they can give when dancing for the one they are serving. Dances are mostly informal moves and may be made to music or without external sound.
Two of the most well-known pleasure dances are the 'belly dance' and the 'pole dance'. Neither has a strict set of moves or sequences but each has its own focus which an experienced viewer might expect to see. Most pleasure dances are even less formal. Often, the dancer creates his or her own dance to enhance his or her own body while incorporating what he or she is capable of and missing out on what he or she has yet to learn.
Slave dances are an important part of the culture described in the Gor books.
Salome's Dance of the Seven Veils and BDSM
In addition to the more mainstream phenomenon of striptease, the biblical story of Salome and the Dance of the Seven Veils has also been interpreted and represented as having strong psychological undercurrents that anticipate modern notions of sadomasochism and BDSM play -- as well as paraphilias like ephebophilia, necrophilia, and incest.
These themes are present in various modern treatments and expansions of the story -- particularly, in the Symbolist paintings of Gustave Moreau, the French Decadent/Symbolist play by Oscar Wilde (which takes great liberties with the original biblical sources, and adds considerable new dimensions of perversion to the story), the accompanying Art Nouveau drawings to the Wilde play by Aubrey Beardsley, and the German opera by Richard Strauss.
Strauss's opera, in particular, seems to have inspired a curious ideological view of the story of Salome as a metaphor for a whole host of modern social problems and historical phenomena -- such as child abuse, sex-slave trafficking, the rise of Fascism, and imperialist/capitalist exploitation of the Third World. The association of Salome's Dance of the Seven Veils with Fascist appeasement and collaboration (and laced with modern BDSM-fetish iconography) is made quite explicit in Liliana Cavani's film, The Night Porter.
Other films which depict the story of Salome with an implied BDSM subtext include Pier Paolo Pasolini's tendentious The Gospel According to St. Matthew and Ken Russell's burlesqued Salome's Last Dance.
