Haunted by Medusa

“Medusa Casting Mischiefs”. Drawn by Creature Karin Webb

The following scripted performance was written collaboratively by Samantha Bryan and Creature Karin Webb. Is is meant to bring the story of Medusa into the light contemporarily. We both feel connected to her story, and it was important to us to create art in tribute of her, especially concerning today’s conversations referencing #MeToo.

About Medusa: Medusa was, in her early years, a ravishingly beautiful Temple Priestess for the goddess Athena. Medusa (there are varied interpretations about the level of consent involved) was raped by Poseidon, and so banished by Athena from service. Athena also punished Medusa by making her ugly, turning her hair into snakes, and cursing her so that anyone who looked upon her face would turn to stone. Time passed for Medusa in this form. Eventually Perseus came along. He beheaded Medusa, taking her head with him to use as a weapon. When he finished with this use of her head, he eventually gave it to Athena so that she could mount the head upon her shield. When Perseus beheads Medusa, from her neck is birthed the winged Pegasus and Chrysaor, a giant.

Our performance was a meditation on a combination of factors from Medusa’s story and from our own experiences. It was as much about how one’s reputation (fairly or not fairly evolved) pervasively informs how society treats one. It’s also about the way we evolve as individuals because of the things which have been done to us. Though Medusa dies she is not forgotten, her story lives on in many millions of women and other people marked by sexual violence, self-freed sexualities, and those who wrestle with the brutality of shame. This performance points to our innate connection with one another, and our potential to treat each other with regard or without. It asks how we might come to one another’s aid, empathize with each other, and care for those who are marked as “fallen”. Samantha and my performance pays respect to Medusa’s spirit, one which invoked much inspiration during our time at this past month’s artist retreat for The Scarlet Tongue Project.

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Haunted by Medusa
By Creature Karin Webb and Samantha Bryan

Written for performance in la Ciudad de México, as part of The Scarlet Tongue Project/La Lengua Roja
Performed September, 6, 2018 at Pulqueria los Insurgentes

Medusa (played by Creature Karin Webb) takes her place on a ledge above the crowd and haunts the performance space this night. Like a gargoyle she inhabits her corner of the club. Connecting with audience members silently, she encourages individuals to draw close, taking a moment with each one who dares come forward. She is a ghost of her former self, temple Priestess to Athena. Medusa now haunts this room, connecting with whomever is capable of looking back and offering themselves vulnerably to her. Dark, older, unclean, she has bright eyes and offers her gaze for reflection back to the audience members willing to approach. Each connection is a world unto itself.

A bowl filled with rose petals, each marked with the artist’s blood is by her side. They are gifts, playthings, to smell, and used as offering. Medusa, deflowered long ago, was cast from society. Today from her perch she watches, casting mischiefs to the crowd below. Rose petals rain from above during this connection, or forehead to forehead she offers her silent touch during that one…

At last an actor approaches, and Medusa hands this player a piece of chalk. The performer draws a circle in the center of the room. A third performer, the Scarlet Woman (played by Samantha Bryan), enters and dances her story within the circle. At the end of her dance, she removes her large wig and veil, gestures towards where Medusa watches, and she sets it on the floor. The Scarlet Woman, as in Death, lays down to final rest.

Medusa approaches the circle to care for this woman’s body. She brings a wash basin of warm water, a cloth, and sheet with her into the circle. Medusa respectfully removes the Scarlet Woman’s clothes and washes her, preparing her body for the earth, and covering the body with the sheet last. Medusa sits a moment in witness over the covered body, and then proceeds to walk to the edge of the circle. Medusa slowly follows its path. As she walks her body becomes older and more bent over. Slower, ever closer to the ground, she continues on, crawling the last segment of the circle until she is left crumpled and unmoving on the floor. As Medusa makes this final walk, losing her power, the woman’s body animates from underneath the cloth, beginning to rise. As Medusa becomes motionless, the woman has lifted herself to sitting, sheet cascading away from her body. She is alive.

Like sand, a stream of salt is poured from directly above Medusa’s body onto her motionless form. The sheet, fallen from the Scarlet Woman’s face, allows her to witnesses this end. The Scarlet Woman stands, gathering her things. She leaves the circle, freed.

FIN

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I’d love to hear your thoughts and questions. We hope to perform this, and other pieces we’ve created as part of The Scarlet Tongue Project, at venues everywhere. Please let me know if you’re interested in bringing performances, lectures, workshops, and/or Documentary footage from The Scarlet Tongue Project to a venue near you. Our performance is easily adaptable to any space, and we’re happy to book at colleges, theaters, meeting halls, galleries, abandoned factories, art houses, private homes, or any other venue which has interest in sharing the project with an audience. Help us bring further discussion of women, anger, and art to your community.

Play On My Friends,
~ Creature

Support my writing on Patreon. For one time Donations: Support the Artist or email.
This writing takes time, research, and consideration. It is my art. Thank you.

Institutional Bigotry

I have nothing to be ashamed of, and damn the powers that be which tell me this isn’t so.

This morning I read an article by Violet Blue about how female ASMR performers are being categorized and targeted as adult entertainers and so defunded by PayPal, Patreon, and shut out of YouTube. It’s an excellent read and I highly recommend it. Why does this matter? Let me count the ways as I take a stroll down the well worn path of Misogyny Lane…

Financial institutions stealing money from working women, non-white, and queer people is just one of the many things that has happened this past year (and historically) to undermine the power women and minorities have over our own bodies and lives. Banks and financial institutions have the power to restrict individual people for pretty much any reason which is what enables, even incentivizes, other industries to follow suit. Politicians are in bed with financial institutions, and they absolutely pave the way for discrimination, unfair treatment, and bigotry.

What’s kink got to do with it? Most of my Pro Dom clients are people who want to feel taken care of, enact being submissive, wear women’s underwear, or are straight up masochistic and can’t find what they need at home. Most of these people are men (we’ll get to that in a moment). Following my own journey through masochism, as someone assigned female at birth (AFAB), helped me to undo a lifetime of instilled mistrust in my body. It turns out I can take a punch, feel pain, and survive. I can even sensually enjoy it! With this increased sense of survival comes a deeper trust in my own body and myself. My core grows stronger, I am able to more confidently go after what I want in life, I’m freer to leave behind transgressions put upon me by society and my communities. I become less controllable and more independent. I have more energy to speak my mind, to organize, to continue learning… This is an example of what it can look like for a female person to break free from the mythological limitations they’ve been trained to believe in since birth.

I’ve been called crazy more than a few times in my life, mostly by men who saw me do something difficult or heard me speak up on an issue which made them uncomfortable (this list includes some trans men and butch women within the past 20 years too). I am feminine. I don’t deny this even though I prefer not to be categorized as such — it’s just what most people see in me when they look. I’m also fairly masculine, androgynous on my best days, and I love each of these parts of myself. That femininity is not inherently understood to be, among other attributes, a “practiced resilience”, is a disservice to the idea and ideal of femininity itself. It is even a foundation from which misogyny grounds itself upon. It may be terrifying to those who would align themselves predominantly with their masculinity, and therefore believe themselves to be “tougher” than those perceived feminine (conflated with “female”), when a feminine person shows their strength, resilience, and lack of fear about painful events. A healthy femininity is not a fragile body, heart, or mind.

So, what does a healthy masculinity look like? It’s certainly not machismo, misogyny, red pill rhetoric, or a patriarchally perpetuated masculinity. We animated bags of dirt, are whole. Feminine, androgynous, and masculine, all. To enslave one’s identity toward one facet of their experience and restrict all other desires and needs in order for one to appear to “pass” as “masculine enough” for patriarchal privilege, is a disservice to the miracle of being alive. We each have one body, one intellect, and a full range of emotions on our side. We each maintain an ability to train and retrain synapses within our brains an infinite number of times between birth and death. To utilize these assets we must continue to think critically, observe anew, question, and learn throughout our lives.

Back to my clients — the ones who are masculine or male identifying, yet still desire to be taken care of, explore submission, wear pretty things, and succumb to pain at the hand of a woman or feminine being. Imagine if their workplaces, friends, or families knew of their longing to experience and express femininity and “feminine things”. Might they lose their jobs? Be ridiculed? Murdered? Lose their lives as they know them, their families, and homes? Our cultural mythology says yes. News headlines and statistics throughout history concur. Political, financial, and social acts of misogyny reinforce our society’s expectations of patriarchal rule largely through instilling fear in all people about what might happen when one steps outside of compliance. We are not allowed to be our most authentic whole selves. AMAB people who desire expressions of femininity can expect to lose their livelihoods (if not lives), and women and minorities who unshackle themselves from a fearful and disempowered state can expect to be robbed, silenced, institutionalized, raped, and worse. There is no money and no structural incentive for those in power to support their citizenry in being whole.

Poor people are more controllable due to being stressed out, underfed, overworked, and less available to speak out and organize against the powers that be. Poor people often subscribe heavily to opiates of the masses — drugs, drink, television, video games, and other forms of intellectual depressants or escapism for the salvation of their struggling hearts and bodies. Middle class people fear losing what they have and becoming poor. For women and minorities to constantly be the target of governmental, financial, workplace, and social discrimination, and for these people to be held accountable to a different, usually more extreme, degree of consequence than groups which reflect patriarchal values, is absolutely not coincidental. This week’s news of the strange-yet-exceptional punishment of censorship paired with taking performers’ income away, in the name of stopping the disconnected yet very real practice of child rape and sex trafficking, is very important to pay attention to. It is an insidious act and practice. It is malign. It is absolutely against free speech. It is a dangerous and troubling conflation of ethics which further endangers realtime victims, doing nothing to solve the problem it cites as taking on in the first place. It is anti-American.

This is the United States we are living in right now. They are not only coming after me, a queer-female-trans-sex-worker-loudmouth-artist, in time they are coming after you too. Take a moment for internal introspection: how much fear and self-repression has society already instilled within you (or within the people you care for) in the name of playing along for external gain? How much of your soul have you sold? How many of your heart’s desires have you forgotten? What percentage of yourself has fear inspired you to let go of?

Play On My Friends,
~ Creature

Support my writing on Patreon. For one time Donations: Support the Artist or email.
This writing takes time, research, and consideration. It is my art. Thank you.

The Spell of a New Experience

“Medusa” played by Creature Karin Webb at Pulqueria Los Insurgentes en Cuidad de México as a part of The Scarlet Tongue Project. Photo by Juan Carlos Ruiz Vargas

If I knew everything I wouldn’t need to be alive. The act of discovery is seductive — new relationship energy, romance with the unknown, seeing a part of yourself through someone else’s eyes… Thursday evening I performed as Medusa en Ciudad de México for “The Scarlet Tongue Project“, and it was everything. The room was small, and each performer stirred the cauldron we were in. Our audience was not there just to watch, they lived with us, breathed with us, shared our emotions, stories, expressions, and creations. The audience felt powerful to me, very alive. I am new here, late to the game of meeting the heart that beats in this country. I’m grateful at 40 years old to be walking new paths and still falling in love.

For a while now I have been working my way into a performance which directly challenges the audience member to participate and co-create a thing that is vulnerable, honest, and new. While I regularly interact with my audience and (usually non-verbally) instruct them how to connect with me during performance, Medusa was my first time without an action-centered script, inviting a room of people into my space to co-create and play. It went incredibly well. I felt as though I was in a temple being visited by believers. Our interactions held joy, fear, tears, laughter, tenderness, love, playfulness, intoxication, timidity, release…

“Listen, No Speaking, Touch”. This is the name of the performance I will create this coming Thursday at a different venue en Ciudad de México, a theater this time rather than a club. Last week’s “Medusa” was a workshop of the concept. Will it hold up the same when I’m not putting on a specific character, or within a theatrical space rather than a club situation? I don’t know. I’m looking forward to finding out.

This performance is about interpersonal communication and what it looks like and feels like to non-verbally engage one another, navigating through layers of intimacy and consent. Is it possible to feel one another and have an experience both outside of your complete control and also — positive and negative alike — accept and learn from the experience you have? In today’s world I feel we’re losing our connection to one another on emotional and physical planes, yet the physical and emotional parts of us are huge factors within our humanity and experience as living animals. I hope to do a series of these performances over time and explore the impact different venues, situations, and energies have on this form of communication. I feel lucky to be starting my journey here in Mexico.

I would not have been able to acheive this level of articulation within my performance art without working, as I have been for a while now, within BDSM communities and as a sex worker. As a professional Dominant my ability to understand and hold my own boundaries (and therefore recognize other people’s boundaries) has been tried, become clearer and explored more and more thoroughly, and grown sturdier over time. As a BDSM practitioner — top and bottom, Dominant and submissive — I have practiced my ability to read non-verbal body language when it comes to physical and emotional interactions, and energy exchange. As a lifelong character actor and observer of motivation I am much more comfortable with a wide range of reactions coming from different people as reaction to stimulus. This is work I love to do. This is work I want to build on and create a career from.

This work is optimistic. Like Medusa I was punished after my first negative sexual experience. This work is about remaining faithful in humanity. Medusa sprouted pegasus wings after her beheading, and there is something in this artistic meditation about growing into adulthood and navigating the subjects which have negatively been wired in my brain and body since too young an age, on my own terms. It’s time to change the story, allow myself to be affected by others, positive and negative, and take wing.

A gift from an audience member, addressed to my character, Medusa.

Without faith in humanity, how do I remain a believer in peace? Without drawing out and exploring the good in individuals how do I maintain my own faith that connection is our salvation and the opposite of war is not peace, but creation, love, conversation, complexity, and growth? My art is directly connected to my internal anger at being sexually victimized and forced, at various times in my life, to choose between my own physical/emotional/psychological sanctity and connection, curiosity, or pleasure. It is antidote to rape culture and the damaging societal belief that we must play roles with one another, rather than vulnerably come together to find what we have to share which could make each of us feel more whole.

Art is the spell of new experience — comfortable and uncomfortable. We pleasure, revel, need, seek out, and find solace in its forms because life is not so finite, so programmable, so by the rules, so safe, or so black and white.

Play On My Friends,
~ Creature

Support my writing on Patreon. For one time Donations: Support the Artist or email.
~This blog takes time, research, and consideration. It is also my art. Thank you.

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