Stories of Women ~ the journey so far


The idea came as a way to develop the interview format where I would record models and artists speaking about their experiences relating to modelling and drawing, and play this while the models posed. With Stories of Women I chose to focus on one model each time, and give her the chance to lead and inspire not only with her body, but through far greater agency than is usually afforded, by letting her deliver her narrative too. There was also the fact that I could not reasonably afford to pay more than one model with this experimental and risky new venture. The Feminist Library has been an ideal new home for the project and introduced us to a wonderful, vibrant wider community of feminist activists. I am most grateful for their generous and accommodating support without which the events could not have run.

As part of a life model community I have gotten to know many amazing models over the years, each very different. Usually they pose silently and Stories of Women seemed a wonderful way to unleash another side of them; the mind behind the poses and inside the body. It gives the opportunity to address many issues that naturally relate to each of us; including size, race, age, illness, surgery, disability, Motherhood, sexuality and gender for example.

I have also encouraged fellow models to come along and join in the discussion which has made for a rich sharing of experience and a frankly much needed live forum between us. So much happens online and it is great when we can actually meet – so rarely do our individually busy schedules allow for this.

It has given me the chance to get to know some of my fellow models better too, as the invitation to share a story necessitates more communication than is usually required between model and booker. Typically a meeting happens and some further batting back and forth of ideas. It makes a pleasant change in the general routine of dashing between jobs with minimal interaction. It may put down a marker of what is important to the model at that time, gives them a reason to take stock. What does modelling mean to them? Why do they do it and is there anything they would like to change?

 

 

Two of the models so far have not been feeling that modelling will be so much in their future, so there was the sense of drawing their work to a close and celebrating a long career that is now ending, certainly with Jennifer and Hana. Jennifer revealed some very profound feelings about the work, which may have jarred with newcomers simply hoping to try it out, because it’s very different when you model full time for years on end. But this did spark intense and animated discussion as it happened among a number of fellow professionals who were present. Even if newcomers were shocked or surprised, they also learnt a great deal of inside information!

Hana Schlesinger

Hana has retired she says, but still likes a little work here and there as the pleasure remains, but she is much older now and suddenly finds there are so many more things she wants to be doing. I was given her number by a tutor Eric who I model for in Hammersmith. She was the oldest model I could easily contact that I knew of in London, in her mid 70s. It was a real treat to get to know her and visit her in Harlesden, her decades of experience through different life drawing eras and stages in her own life were fascinating to hear of. A lovely woman who radiates confidence and liberatedness, a joy to behold.

With Claire it was more of a retrospective look at her modelling career as she no longer does it much. In fact she only does it at Spirited Bodies in recent years specifically to explore her relationship with her body post mastectomy, having been a life model prior to that. It links up with various pieces of writing, poems, artworks and photographs she has also created on the subject over a number of years, and lined up with an exhibition she put on at The Women’s Art Library at Goldsmiths (part of her residency). So each event has a unique content and flavour, sometimes an edge.

Leo

Leo and Natasha are very much in their element now as models, even if Natasha can’t always do as much as she’d like due to full time work commitments. Valentina modelled at Good Girls Reveal All with me, and while this wasn’t called Stories of Women, it was a very similar format so I shall include Valentina here. She also is really enjoying a fantastic life model career now, and it’s a pleasure to connect with this energy in all of them. These younger women took up modelling in the last 6 years and expressed the changes they’d felt as a result of their nude career. It was overwhelmingly positive what modelling brings to them, even if sometimes the affects are so strong that you make some very massive changes in your life that have serious consequences. It’s not uncommon when we become models that it shifts something in our intimate relationships. Suddenly we are being appreciated physically (and more as this is about personality too) by others, artists; and we don’t necessarily need that from our partners any more.

Leo expressed her devotion to celibacy and the empowerment she finds that way. As a larger model her experience of the world is shaped somewhat by how society regards her (as it is for all of us in our own way). I am a slim model and appreciated for different qualities, fat hasn’t been such a thing for me but for so many women it is. How fat becomes a gift in the life room may be the most obvious example of how life modelling can enhance body positivity.

Natasha has become in touch with her own sense of independence and confidence not just as a result of modelling but also various other nude activities, including the World Naked Bike Ride; Spencer Tunick, Matt Granger and her own outdoor photoshoots; and blossomed in that regard. She started her own life drawing group in Upminster called LeNu with her sister a few years ago which runs weekly sessions and where Steve and I will be part of a Spirited Bodies – Stories type event, hopefully in the Summer term! Natasha also very much looks forward to creating a new photographic project in the Summer, similar to her outdoor group nude shoots in 2015 (Project Naked).

 

 

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Valentina and I enjoyed a luxurious amount of time to prepare together. Because I would be performing as well, there was much to discuss – how our narratives would blend and intersect. We wanted to memorise parts of our speech for a more dramatic effect, and tried out ideas with each other over several meetings. For her, the body positivity element was very strong, and moving to listen to. The painful experiences that preceded our lives as models, are the drivers for passionate immersion in a new world of self exploration and expression, with a guaranteed audience! This gig was a new departure, a collaboration with Good Girls Eat Dinner founder Jo Wallace, who drew me in Hoxton the term before when I announced one of my events. She was interested and came along, as well instigated Good Girls Reveal All with me. A new direction for her, and a different audience for a Stories of Women type event. As creative director at an advertising agency in Knightsbridge, she arranged the event where she works. Most of the drawers were her fellow creatives from a number of professional fields. They didn’t try the modelling (it didn’t seem appropriate with many of them working with each other), but listened and drew avidly. Jo asked us questions which we had prepared, and also we delivered a couple of learnt set pieces. I found it very liberating to have this platform too, and greatly appreciated sharing it with Valentina. There was strong solidarity between us, and a chance to bond as women as well as models. Our audience were pretty new to these ideas and drew a lot from our insights. Thanks to Jo (and Valentina) who helped make this transition to a new territory especially smooth and welcoming.

 

 

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Our next model will be Lucy Saunders who helped to found Spirited Bodies with Morimda and myself, in 2010. This is an exciting prospect for several reasons. Lucy enjoyed a hugely popular and decent length life model career which mostly came to an end a few years ago, as she decided to focus on teaching and then PR work. There have been health issues too more recently; an operation last year left her somewhat disabled, but relieved her of a great deal of pain. Nevertheless she is rapidly regaining her mobility and is determined to demonstrate the full variety of her posing repertoire. Truly I know that even if she can’t create poses with her body as nimbly as previously (much physio is on the cards), she will have no problem enthralling an audience (of drawers) with her life modelling tales and the way she informs her posing from a number of inspirations including great masters’ compositions.

 

 

The story Lucy always tells about her initiation into life modelling and what gave her hope that it was worth pursuing despite her size – she was modelling at a RAM audition alongside a young student; slim, long red hair, perfect in the way that young people can be carelessly perfect. She knew nothing about good poses and made some fairly mad shapes. In the break, she wandered round looking at the artists’ work. One man had done a competent A3 drawing of the young woman sitting on a chair. Up in one corner, the size of a playing card, he’d done a quick sketch of Lucy sitting on the floor from behind. ‘He made my arse look like a smile, and I thought, I can do this.’ says Lucy. ‘What looking at images made of me by hundreds of artists in all sorts of mediums, from charcoal to paint to clay to collage, has made me realise is that I truly have very little control of how other people see me or what they think of my body. It is a huge relief to lay down that burden of trying to live up to expectations that I have learnt are largely internalised dictats of the culture I live in.’

 

 

It is a rare opportunity for a model to demonstrate posing with some disability, in this case one who has enjoyed a long and full career as a celebrated model. She worked at various institutions including Morley College, Kensington and Chelsea, The Prince’s Drawing School, the Hesketh Hubbard, Richmond Art School as well as many other formal and informal life drawing groups and meetings. ‘I love seeing what the artists create and while I might think my pose expresses one thing, it can be enchanting to see it turn into a completely different story through the artists’ work.’

 

 

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Lucy was I think, the largest female model I was aware of on the circuit in the early days (10 years ago). Then I got to know some more, but they have generally been a relative rarity, greatly in demand for their shape and size. At Spirited Bodies we have always wanted to encourage everyone to feel comfortable in the body they are in, especially marginalised bodies, but as margins can be internal, this really is anybody. Whether your body is judged unfavourably by a critical society, or further controlled by harsh cultural practices imposing limiting behaviours; or it is at war with itself for whatever reason; if you can find self acceptance, and let go of feelings of shame, that can benefit a person immeasurably. From that place of self love, one may be better equipped to address further issues that invariably arise.

It has been very rewarding to help people come to terms with bodies they did not feel at home in, and to reclaim them, sometimes through modelling as a group at our sessions; and in some instances helping them further into life modelling careers of their own. I have probably gotten to know an unusually high number of partially disabled models due to Spirited Bodies’ inclusive body-embracing aims. Sometimes the warm appreciation of artists serves as a healing energy that goes a little way perhaps to redress the discomfort of a body/mind that may be struggling.

If you would like to join us for Lucy’s Stories of Women event, it will take place at Hampstead School of Art (HSOA) on Friday 18th May 2018, from 6:30pm – 8:30pm. The cost is £20 and you can buy tickets online here, or book a place by calling 0207 794 1439, or email info@hsoa.co.uk

The address is 2 Penrose Gardens, Kidderpore Green, NW3 7BF, London. 

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It is an enormous delight to return to HSOA – in 2014 they generously hosted my Girl in Suitcase performance with live musicians and fellow model and friend, Ursula Troche. I have been modelling there recently and they got wind of my events in December and asked me about putting one on there, in the Summer term. They are keen to host exciting new life drawing and art related events at the school, where they fit with their programme. It means a great deal to have friendly collaborators who make you feel very supported, indeed you need that in order for a project to survive. Artists supporting each other is what it’s all about and we are very grateful to have such company. Looking forward to presenting Stories of Women for them and whoever fancies coming along. This is a mixed event (unlike The Feminist Library ones) and there will be the chance to try posing as well, alongside Lucy, and with her direction and guidance. Drawing materials provided and naturally easels, boards, tables – for the first time this type of event is happening in an actual life drawing studio! What a gift! We are excited and honoured, and hope to inspire the artists with a new understanding of a muse. Many thanks to Isabel, Anat, Caitlin and all at HSOA – their kindness is much appreciated. And how happy I am to be working and creating again, with my one time project partner. We step easily into the groove, familiar enough to get straight to the point in what are sometimes challenging personal matters. In the depth we find strength and closeness renewed. I have every hope for a most successful occasion.

 

 

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With special thanks to all our friends who have turned up, helped and joined in; it is all greatly appreciated.

Collaborative Sound, Draw & Pose

 

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by Irene Lafferty
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by Kathy Dutton

A fusion of art forms, experimental creativity, and a healing space.

Meditation circle to begin; focus and calm.

Slowly moving as a group, in a circle

Like flowers growing towards the sun.

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by Kathy Dutton
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by Steve Carey
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by Philip Copestake
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by Irene Lafferty
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by Irene Lafferty
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by Kathy Dutton

A pregnant woman and a midwife pose together.

A large paper everyone draws on

Outlines of women on top of each other, coloured in.

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by Kathy Dutton
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by Kathy Dutton
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Women’s collaborative drawing led by Kathy Dutton
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Men and women collaborative drawing led by Kathy Dutton

Playing instruments we didn’t know the names of

Spread out on a picnic rug to sample.

A group symphony of sound, and a tableau of nudity.

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by Philip Copestake
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Women making soundscape

Here is the women’s collaborative soundscape, led by Sarah Kent.

 

Some feedback from the women’s session

“I can see retrospectively that my belief and trust in myself got totally wrapped up into the dynamic of my relationship with my ex. And I had lost my faith in myself. I didn’t think my body was mine anymore. When shit hit the fan it was my body that I blamed and victimised. When I gave myself permission to process what had happened, I had the revelation that I don’t exist to please anyone else. When I posed for Spirited Bodies I felt liberated. To be naked, without sexual purpose, was the ultimate declaration of self. This is ME. This body is mine.” Ellie.

“I really enjoyed the day, key thoughts:
– very alternative
– open and welcoming
– a bit experimental which is probably not for everyone e.g. Joint drawing was a bit 1960s art ‘happening’.
– the music and movement component was interesting and Challenging to draw.
– I enjoyed the modelling experience and felt very comfortable. I guess I also realised how comfortable and at home i felt in my body and pregnant. it felt therapeutic in some ways.” Philippa.

Here is the mixed collaborative soundscape, again led by Sarah Kent.

Kathy Dutton writes of the day

“#drawing #live capturing the essence of continuous movement #observing each second and putting it onto paper #softly drifting into sound and seeing only. #spiritedbodies

1 minute #drawing capturing the #curve of the body and a #moments #movement #spiritedbodies

During the event ….I felt our minds connected in a way that made it easy to work in silence…with only the sound and our intention. The circle at the start and the spiral within the meditation rippled into our consciousness subtle yet present… it surprised me how a few people drew the spiral we connected with in the visualisation
The soundscapes reached into us and made us melt into energy… connected by the sound into each moment, and the intense heat of that day.”
And here is Steve Ritter’s blog post about the mixed session (for a more accurate description of what happened!)

The Ages of Woman at WOW ’16

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by Kathleen Dutton

This was the blending of two projects of mine – Girl in Suitcase meets Spirited Bodies, and it was the first such encounter. It was not wholly successful for me, and for record’s sake, I will elucidate here the clearest positives and flaws that emerged.

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It was born of a desire in me to perform the play – Girl in Suitcase – somewhere new, as well as to enhance the familiar format of Spirited Bodies at WOW. WOW is the Women of the World festival, annually held at Southbank Centre, London in March, around International Women’s Day. It celebrates women and girls, and looks at the obstacles that stop them from achieving their potential. I went to the very first WOW in 2011, and pitched my idea of Spirited Bodies as a means to help women to feel more embodied, to an audience in the Royal Festival Hall as well as a celebrity panel including Annie Lennox and Sandi Toksvig. Jude Kelly, the artistic director of Southbank Centre offered to host one of my events there. It took a further 2 years to bring the actual event to the festival, and it has been a fixture ever since.

I had not put on Girl in Suitcase since May ’15, and was itching to do so. It has in recent years been aired annually at Telegraph Hill festival, which is local to me, and I craved a new and interesting venue. I had put a lot of energy into creating the show with various friends in 2015, and then found their individual circumstances unable to commit further. Certainly that had been the case with Lidia, yet after working with her, I instinctively wanted to continue that sort of collaboration so didn’t attempt another. To add to that my personal life had undergone considerable turns in the last year; splitting up with a long term partner, and getting together with someone else. I was very keen to get back to the performance by the beginning of 2016, and as WOW has been the most high profile event I do in either project, I felt drawn to infuse that more with my own work. In previous years I had recorded interviews with models and artists in advance of the event, and edited them to play back during the session. For one thing my ex partner had the technical equipment for this aspect, and not unrelatedly, I wanted to ring the changes. Aside from this, during the last year I really noticed how others in the life model scene may have overtaken me perhaps – some that I helped to start out. I was losing the motivation to simply exist in order to ignite other women’s careers. I mean, I wanted to help them, but not at my own expense. I essentially needed to feel at that moment, that Spirited Bodies at WOW was also for me, not just the benefit of others (it’s not a high earner either).

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by Irene Lafferty

A considerable flaw was I tried to fit in too much of the play; in the event there wasn’t time for it all, I had to cut big chunks whilst thinking on my feet. I had given myself too many details to focus on, and during the preceeding week I had gotten an inkling that this would be the case; it dawned on me that not all the parts of the play were so apt for the occasion. At the same time, since other performers were engaged I felt obliged to consider their needs, and not mess unduly with their already tight programme of learning the show. I was unable to perform my acting role with conviction as felt too plainly that the part did not fit; also my mind was elsewhere. I’d had three Spirited Bodies workshops during the past week and supplies of drawing materials were suddenly low – I’d been a bit caught out it became apparent as the audience flowed in at WOW, and paper seemed scarce. Too many details! I knew that really my priority and responsibility was to the models, especially the new ones, but I had made it harder for myself to focus on them.

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by Irene Lafferty

On the plus side, the return to live interviews was a revelation. I had done away with this after our first WOW event in 2013, deeming the format unlikely to attract the truly nervous and hence some of the most magical and transformative experiences. In the meantime however, Spirited Bodies’ reputation has grown, and there is a bigger pool of people known to me for creating such a live event. Certainly at WOW, where the inherent safety factor is well understood, many more women are now willing to share their feelings live, whilst modelling. It probably helps that in the interim years, as Jude Kelly put it in one of her welcome to WOW speeches this year, “feminism has gone mainstream”. Live interviews means, genuine responses in the moment to the audience. There was some rehearsal involved, but it’s always fresh with an eager audience, and some parts have not been planned or scripted; they just catch you by surprise.

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Sabine dancing with wings, by Kathleen Dutton

The themed sections of the event came directly from the play, and represented the stages in woman’s life. This worked very well and provided ample pose ideas for the chorus, who were a pre-arranged group of models, ranging from some with much experience to total newcomers. The chorus created tableaux for each section (the Virgin, the Mother, the Enchantress, and the Matriarch), and these were being accompanied by other interacting action, like Sabine’s belly dance and Ursula‘s Gaia poem. The three of us – Sabine Zollner, Ursula Troche and I reading facts/statistics about violence against women, during a pose representing torture and witches burning, was very effective, making for a strong dramatic arc that deepened the experience. Everyone was reminded of the unfortunate plights of far too many women around the world. Cast in this light, any of our own bodily anxieties were hopefully more ready to fall away, if only temporarily.

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Witches tied to the stake, by Dorothea Bohlius

Regardless of any background noise in my own mind, the event was very successful. Having a well prepared chorus was powerful, and there were lots of new models trying out posing on the day from the audience. We had not had the room set out with an end-on stage before, more usually in the round, and this new lay-out actually worked well, elevating the chorus and action, so it felt more like a show. The event was well attended and well received, and I really appreciated the chance to add some theatre to Spirited Bodies. It was wonderful to revive the version from a year before, of Girl in Suitcase, that I had created with my two friends Sabine and Ursula. As ever, we were blessed with the support of regular women artists at this event, which I am especially grateful for, as well as the freedom to try new things, granted by the WOW team in support of my work.

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by Dorothea Bohlius

Circles of Women

Our recent women’s event was in a beautiful space at the Bargehouse (part of Oxo buildings, Southbank), well heated and well attended – with 5 models, and about 10 artists. Poses from 1 – 15 minutes, some with movement. We began dynamic and expansive, and perfected the art of very slowly opening up from an enclosed pose (3 and 5 minutes). In 3 minutes, they had moved so slowly, that when time was up, I found they had hardly opened at all! So I decided on a second round, longer to allow them to complete the movement.

All artwork from the women's session at the Bargehouse, 4/11/15
All artwork from the women’s session at the Bargehouse, 4/11/15

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The artists sat in a circle, some drawing in sketch pads, others leaning a board on a chair in front, one or two with their own mini easels set up. Within this circle, the models had a sheeted and cushioned area in which they created their own circles from time to time as they posed.

In daylight before we began
In daylight before we began

We created 5 minute poses for each element – Fire, Air, Water and Earth. Beautiful ensembles with flames, blowing in the wind, waves, and the solidity of Earth.

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Hands reached up in a blaze of flames

There was a mix of experienced models including Ursula (a full time model and performance poet), and Claire (professional model, writer and feminist artist from the 80s, returning now with mastectomy), and Paula (relatively new). New models included an opera singer, who sang with Ursula in a sonorous pose; also another totally new model.

operatic notes on a page
operatic notes on a page

That was an impromtu inspiration as the singing model was clearly keen, and we have done that sort of thing before at A Human Orchestration a couple years back, so it felt enjoyable to revisit musical models. Really adds to their presence, and in this case, her voice was so powerful that the room shook. I’m not joking, and I wasn’t even next to her, touching her, so I can only imagine the vibrations in the inner circle. At least one artist was moved to tears, and several said they drew differently as touched by her tones.

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Artists familiar, as well as some from the drawing symposium (we were a part of the Southbank Festival of Creativity) made their marks.

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A real pleasure to return to my perhaps most passionate area of Spirited Bodies – the sacred women’s space! Though I don’t make much of any spiritual angle, keeping the session within life art/performance narrative, there is an extra element of care and consideration that is about feeling safe, to be all that we are. We are aware, as women together, some of us nude, that we could have body hang-ups, and maybe sometimes we do. But in that space, we are supporting each other to move past that, and enjoy the bodies we are in. We create solidarity, without judgement for ourselves or each other, embracing difference. And that is all that is needed, together with listening to each other, to make a very special warm, shared healing experience.

bending in the wind
bending in the wind

We don’t have to have been especially hung-up to benefit immensely; we all gain from the shared liberation, and witnessing each other being and blossoming. Creating a helpful, proactive, responsive community as well, as we connect more, building friendships. In the end, it is the love between us that grows our collective power, beauty, resonance and connection.

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There is space within poses for individuals to practise their own spirituality possibly. Over years of modelling, I believe I have learnt how to very quickly access a meditative state, it is second nature. I smile automatically when discomfort prevails, as doing this alters my mind state to strengthen me, minimising pain. What is more tricky is the muscles reminding me subsequently, that it was not such an easy pose I had fooled myself so well of!

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I also talk some of the time, during the session to point out how poses do or don’t work, to guide the models as well as instructing artists, in a different sort of life class! I played a bit of music too, but at the start, I instinctively wanted to let the silence take hold, bringing peace to all of us who had braced ourselves through the city to get there that evening.

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I love circles of women. Last night I danced to the full moon with sisters in a church in Vauxhall. I vary in how much I am feeling it each month, but yesterday was very serene. The DJ, Sarah Davies, gave a little talk on body language which felt very pertinent, it spoke to me. How we hold ourselves affects the way we feel, and vice versa. So we can use this to make ourselves feel stronger, even when we are not necessarily there yet emotionally, or mentally. Create bold, confident shapes with our bodies to empower ourselves.

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I have noticed over the years, that I had to let go of jobs where the artists were too proscriptive about poses, as if I am not in control of them, it can more likely damage my well-being emotionally (as well as physically).

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I love how the full moon women’s dance is run by a bunch of women, tending to be about 10 – 12 years my senior I reckon. They and many of the dancers, are yoga, dance, alternative healing practitioners and artists, so a lot of strong energy in the space, and quite a few run their own women’s spaces. The chairs are cleared from the space and I set to hoovering crumbs, leaves and dust off the massive carpet. It takes a goodly amount of time, especially as I am enjoying being inspired by my moves with the vacuum cleaner! About two thirds of the way through the task, the sound system has been erected, and music begins to fill the church. Housework gets me into my first dance.

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A pair of artists unravel and place items on an altar, immediately in front of the church’s own, which is behind decorated gates. After I have stocked up the toilets with paper, and put the moon pictures up, Sara hands me her palo santo to be burnt, and wafted about to cleanse or smudge the space.

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Low-lit by highly hung chandeliers, the whole church resonates to the ska, hiphop, dance, world, ambient and darkly gothic music. We are moving through waves, rhythms of our feminine expression, of lyrical, flowing, chaotic, staccato and still bodies. I get a lot from this group. I take my friends there, and gradually get to know some of the women I meet there. It is a source of shared knowledge and deeper friendships.

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For me, the instructions through the mic from the DJ about how to move (just suggestions), and what we may be feeling, are often jarring with my own inner journey. I am well habituated to getting into my groove. I discovered at 18 I think, on the dance floor at Slimelight among other venues, how to reach ecstacy through dance, and I wasn’t always on drugs believe it or not! It was a passion, and I knew movement (beyond the everyday) would always be part of my life. I trained in physical theatre at Rose Bruford drama school, in South East London in the early noughties. I wasn’t a great student, but I did appreciate the variety and intensity of some of the outlandish practitioners we immersed ourselves in.

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Still, I do appreciate how having an MC helps to bind the group at times, as well as nurturing some of those who may be newer to dance or being part of such a group. It’s lovely to be in a group that is run by women, repurposing the church of a monthly evening, a church which in fact lends itself to a number of new age groups. At one particular phase of the evening, all the women start howling into the air, for a long long time. So happy to hear their voices, and to be taking up space as Sarah wanted.

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Another women’s space I would like to bring your attention to, is run by Calu Lema, as part of her Naked Movement project. She describes her philosophy, background and intentions very well, and – Details of her next women’s (naked) space, are here.

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I have naturally often thought, how good it would be if the full moon dance was also naked! I wasn’t thinking that yesterday though. The heating was blasting, and we were moving fast some of the time, but it is a big space, so didn’t feel cosy for nudity. Not that that’s really an option here… even in Summer. I also appreciate how it would be highly unlikely that you would get that many women at a naked dance, sadly at the moment. It is very cool to be with so many women dancing though.

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My own next women’s event is on Sunday 13th December, at Tanner Street, close to Tower Bridge, from 11am – 1pm. For trying life modelling and/or drawing, with some gentle exercises to get comfortable with posing, as well as explore how the poses we choose may enhance ourselves and others. Nudity is optional. Naked, we may open up more to each other, face more of ourselves beneath the layers, and appreciate our natural beauty and body shapes. But it’s not for everyone. Artists are usually clothed, and sometimes, after a few years or so of coming to Spirited Bodies, artists pluck up the courage to bare all themselves!

a sea of bodies
a sea of bodies

 

The Warmth of Women

I am so glad we decided to make a workshop at Sh! This is a special environment where women may explore their sexuality in a totally welcoming space. It is much more than a specialist sex shop; it has an ethos to reach women where they have not been touched before! It is an intimate space downstairs where we created Spirited Bodies magic within this new setting. Surrounded by dildos, vibrators, whips, paddles and lubricants we eased into poses on the pink oval couch that had a fetish feel. One of our artists was very comfortable directing poses due to her frequenting of fetish clubs; I took full advantage. Not that I am shy, but when you can see someone flowing with inspiration for ideal use of props and the angle of each limb, it is a gift for all to let that unfold. Thelma and I just tweaked some of these poses according to our knowledge of modelling, and making allowances for the newness of these models who want to try a novel experience more in some cases than have a realistic experience of life modelling.

Here are some pictures from this unusual workshop which hopefully we will try some time again.

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I initiated proceedings with a 6 minute pose; the average pose was 5 minutes
I initiated proceedings with a 6 minute pose; the average pose was 5 minutes

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I made suggestions to models about levels and relative openness or closedness of the body, as well as direction of limbs, and as well they found their own postures to fit with the other model’s shape.

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dynamic and fun
dynamic and fun

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These fabulous felt-tip pen line drawings are by Lily Lemaire
These cartoonesque felt-tip pen line drawings are by Lily Lemaire

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Most participants came primarily to try modelling, and a couple preferred drawing, but they too had a go at posing. They said that it helped them understand the models’ point of view.

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Collection of underwear models, or a ridiculous all girl band as one of them observed!
Collection of underwear models, or a ridiculous all girl band as one of them observed!
Colourful finale pose
Colourful finale pose
Artist Khadijah likes to use oil pastels I believe
Artist Khadijah likes to use oil pastels I believe, bringing out tone more than line

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a pink feather boa connected the models
a pink feather boa connected the models

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The costumed model presents different considerations for the artist; clothes draw attention to other features and shapes which the nude does not.

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A light touch; it is so warming when participants get into the spirit of friendly posing with each other they have not met before
A light touch; it is so warming when participants get into the spirit of friendly posing with each other they have not met before

I thought afterwards, coming into this shop for a class, these women would not be likely to be phased!

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Pleasing parallel lines and angles
Pleasing parallel lines and angles

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While life or clothed modelling is not necessarily sexy, it can be. Above all we want to promote women being comfortable and confident in their bodies – sexually and otherwise. Often being at ease with one’s form may enhance sexual confidence, in a truthful way that is not about doing what is expected of us, or what we think we ought to do, but by being ready to sense our own desire and act on it appropriately. Being able to appreciate ourselves allows us to appreciate others more, and be appreciated by others. While the body can be a very sacred place, we easily become disconnected from it in our mentally driven lives. But if we take time to tune into what is going on inside, and learn to move our bodies however we can to enjoy them, we begin to intuit more the language of the body.

As I move from pose to pose, especially but not exclusively the quick (and movement) ones, there is hardly any time in between poses when I am working, to recover the body to its natural equilibrium, to eliminate aches and cramps. My body tells me which limbs to work as I form a new shape; more than the alternation of muscle groups (though that is part of it) its language is subtle and beyond logical. It knows I am performing a sequence, that there is a climax mid-flow of muscular tension when I will pass through a pain barrier and I will surpass artists’ expectations of what I can hold. I push myself because I am like a gymnast aiming for gold, I take my modelling seriously because I love it. It is my gym, my yoga and sometimes my dance. It strengthens my core and warms my very being. It takes me to places of trance, of deep joy and wild amusement I cannot possibly describe to you because it is so in the moment, the way it lights my smile challenging the artists to catch it! Sometimes it is tantra too and it turns me on, and if I were a man I would have to master myself quite heroically not to offend people and risk not being booked and getting a tarnished name. As a woman I can hide it if I want though sometimes my sexuality is discerned – naturally I am being closely observed, and enjoying it. That is even turning me on too; part of a pleasure loop of enjoying myself, being enjoyed by others. But it is not deemed offensive; though it affects me physically this is subtle compared with a man. Instead I am likely to wear a translucent glow and my pheromones reach the artists subliminally (or not). I am sometimes booked because I am sexy, though not in an obvious way, because that is not my style. I mean, it is pleasing to artists consciously or otherwise that I am in tune with my sexuality and I know how to handle it. It makes me confident and that is attractive. It is about my physicality and my nature. I know that life modelling has enhanced this for me. It was always there, a big part of me, being very sexy; but after becoming closeted a few years for social and personal reasons, the liberation afforded by life modelling was strong and so welcome. Now I share that as best I can with others.

Working so closely with my body and my beauty daily, I am acutely in touch with my cycle. I bring different energies at different times to modelling, from the highly charged and emotional, to the light and easy going, to the blatantly desiring, and commanding. Through meditation with energy work (visualising the flow and store of energy within the body) I aim to master better the hormonal drives in me. I have become so aware of my enslavement to a feminine cycle of emotions and desires, that I look to overcome this through deeper analysis, to channel all that powerful energy to put it to best use. Not to move beyond sex, but rather reach a higher source of sexual power, which is ultimately more feminine, unbound by time or undue strain.

I will add that there are many different types of life model and I am just one. Our individuality is the beauty of our game.

One of the women who participated on Thursday evening wrote to us the next morning;

“Thank you for a wonderful evening last night. I thoroughly enjoyed the modelling and the theme was right up my street 🙂 I am absolutely interested in modelling again in the future, I think my preference would be all women groups at least for the first few sessions since I am a newbie! I am not so keen on the drawing side as my skills in drawing are so inadequate!”

Thelma responded, “Thank you 🙂 It was an absolute pleasure and to see you ‘warming up’ to the experience. That is why I like SB – there is an indescribable feeling of fluidity, freedom and togetherness – spirited bodies, like minded embracing ‘the nude’, our nude in a practical, loving, flowing into unconscious way – if that makes sense! I fully understand about the drawing side – when I draw I try and do a ‘small bit’ or part of the pose or just try and get the positions to practice perspective.”

Finally the young woman wrote, “I am exploring and learning so much about myself and the world through my body and its empowering and  incredibly freeing. I have always been very comfortable with my body, but unfortunately have been surrounded by a lot of people who aren’t! That can really limit who you are when trying to be sensitive to other people’s hang ups.

I am delighted to have been in the space of women who love and appreciate their bodies as they are :)”

Beautiful