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To cite this article: Jamie Ratliff (2013) Drawing on Burlesque: Excessive Display and Fat Desire in
the Work of Cristina Vela, Fat Studies: An Interdisciplinary Journal of Body Weight and Society, 2:2,
118-131, DOI: 10.1080/21604851.2013.779557
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Fat Studies, 2:118–131, 2013
Copyright © Taylor & Francis Group, LLC
ISSN: 2160-4851 print/2160-486X online
DOI: 10.1080/21604851.2013.779557
JAMIE RATLIFF
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Born in 1983, Cristina Vela is a Spanish artist and illustrator from Jáen, a
city in southern Spain. She studied fine arts at the University of Sevilla,
graduated with a bachelor of fine arts degree in 2008, and since then has
won a number of regional and national (Spanish) awards and art prizes for
her illustrations and comics. She is most well known for a graphic novel
she penned (literally with Bic ink) called Medusas y Ballenas (Jellyfish and
Whales, 2009, published by Bizancio Ediciones), a story about a woman’s
exploration of eroticism and memory.
Vela has also gained some notoriety in Spain for a series of small fig-
ural drawings completed in 2010–2011 that showcase the fat female body
as an object of corporeal desire. Known collectively as Las Gordas (The Fat
Women), this series features a parade of fat ladies, alone or in groups, naked
or scantily clad in minimal lingerie, striking striptease poses as they strut and
shake on an invisible stage. An installation view from a collective exhibit in
118
Drawing on Burlesque 119
which Vela participated at the Murnau Art Gallery in Sevilla, Spain, in 2011
(Figure 1) displays the various ways these gorditas are deployed across Vela’s
paper canvases: chorus lines of corpulent bunnies, swinging pole dancers,
feline doms with leather tails, and spectacular stripteasers whose fleshy bel-
lies, thighs, and breasts are decorated with lacy stockings, frilly panties, and
pasties. Part Willendorf “Venuses,” part Lili St. Cyr, these linear drawings joy-
fully jiggle in ways that defy current Western standards of ideal femininity
and eroticism that have denied such pleasures to the fat female subject.
Often viewed as asexual, or desexualized, the fat female subject has
been discursively excluded from traditional expressions of fantasy, a cul-
tural failing that accounts for the virtual lack of positive and empowering
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FIGURE 1 Christina Vela, Las Gordas, 2010–11. (Reprinted with permission by the artist)
(color figure available online).
120 J. Ratliff
that can be used to critically engage the politics of imaging fat burlesque as
a means of imagining fat agency. This essay analyzes Vela’s Las Gordas as
images that provide entry into theorizing fat burlesque, both on the stage and
on the page, as a distinctly subversive representational strategy of corporeal
excess.
Burlesque, both in its historical and contemporary forms, is an asser-
tion of the sexual and erotic self. Originally a form of musical theater
parody, burlesque as a performance began as a nineteenth-century British
phenomenon, brought to the United States in the 1860s. Defined as a
type of variety show that comically mocked theatrical and literary texts as
well as current events, according to Maria Elena Buszek, the show’s “focal
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point was [often] not the drama itself, but the performances of scandalously
clad actresses and . . . modern-day ‘chorus girls.’”3 By most accounts, neo-
burlesque is closer to traditional striptease than the theatrical tableaux of
its historical antecedents, but it still retains much of the original spirit of
the sensual extravaganza.4 Many of these qualities can be seen in Vela’s
drawings.
Figure 2 is a drawing from an exhibit of Vela’s Las Gordas at the Galeria
Trindade in Oporto, Portugal (June, 2011). It pictures three performers wear-
ing frilly underwear, striped thigh-high stockings, and high-heeled dance
shoes. Standing full-frontal, they display their voluptuous bodies for the
viewer. The two flanking dancers’ bodies mirror each other with chore-
ographed symmetry, each with one hip cocked to raise a knee and expose
a plump inner thigh, their exterior hands seductively tapping their top hats.
The middle dancer seems to float between them, her (jazz) hands joyously
raised to the sky as if they have just released the shower of pink confetti
that dots the white space above them. The drawing demonstrates the kind of
bawdy playfulness that characterizes the atmosphere of a burlesque cabaret.
The titillating give-and-take of flesh that excites the audience to whistle and
hoot is matched here by the use of craft materials such as pink pearls and red
heart-shaped stickers to conceal, yet call attention to, the dancers’ nipples.
Neo-burlesque tends to draw heavily from its historical format, in terms
of costumes, routines, and content, allusions that are also present within the
Las Gordas series.5 In Figure 2, the striped stockings are reminiscent of can-
can dancers, and the top hats a nod to the fact that in the “old” burlesque
form, women performers routinely acted out both male and female roles, an
historical remnant that may be related to the “cross-dressing” that is often
included in newer shows: top hats, men’s boxers, and white starched shirts
giving way to unsheathed tresses, frilly thongs, and lacy bras or pasties.6
Elsewhere the gorditas, or little fat women, wear early-twentieth-century
bathing costumes, mid-century Playboy bunny outfits, and pin-up garb that
all read as vintage. These costumes are mixed with more contemporary lin-
gerie and bondage outfits that give the series a wide temporal scope among
the assortment of its many “acts.” Taken as a whole, the series—with its
Drawing on Burlesque 121
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FIGURE 2 Christina Vela, Las Gordas, 2010–11. (Reprinted with permission by the artist)
(color figure available online).
magicians with top hats and wands frolicking alongside “magically” appear-
ing rabbits, more sexually aggressive performers in shiny black leather or
vinyl catsuits with whips, and women sitting on trapeze swings, binding
each other with ropes, or sneaking kisses behind hats—showcases a range
of erotic expressions while re-enacting the original variety show format.
These formal references to burlesque carry with them the meaning
of burlesque as a potentially subversive act, as well: one that attempts to
recode femininity by simultaneously embracing certain tenets of historical
femininity and yet exposing those same tenets to be socially constructed by
adopting a model of excessive gender performativity. As Buszek notes, even
early examples of burlesque were viewed in the nineteenth century by crit-
ics as disruptive to societal expectations of femininity. The dancer, whose
public sexuality was accepted by bourgeois society as an “embodiment of
ideal female beauty” offered a model of femininity that existed outside the
dichotomous extremes of the good, domestic woman and the maligned pros-
titute; thus, burlesque provided a site for staging “transgressive identities that
were celebrated and made visible in the theater.”7 And while visibility is
essential for the affirmation of alternative identities, what originally made
burlesque women an “unsettling” spectacle was “not simply their presence
on the stage, but the spectacle of their conscious contemporaneity and sexual
self-awareness.”8
122 J. Ratliff
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FIGURE 3 Christina Vela, Las Gordas, 2010–11. (Reprinted with permission by the artist)
(color figure available online).
on both active and passive roles, performing just as much for each other
as they do for an audience that is similarly invited to look, but not touch.
The difference, of course, is that the burlesque dancer looks back rendering
the domineering gaze of the viewer, in many ways, nullified. Indeed, “the
‘payoff’ in new burlesque is the mutually constitutive pleasure of performer
and audience.”13
Much of this “payoff” comes from the fact that, in recent years, Neo-
burlesque has catered to a crowd that differs from its original audience.
Claire Nally and Jacki Wilson each argue that the shows generally perform
to a predominantly female spectatorship, who make up as much as 70–75%
of the audience, depending on the venue.14 Such an audience is significant
to the transgressive potential of burlesque because it creates a space where
women find pleasure in the act of spectatorship, because both performer and
audience are in on the “joke,” as burlesque caricatures the constructed nature
of gender and sexuality.15 The sensual striptease, the explicit sexuality, the
references to vintage femininity, and the unabashed return of the gaze are
all factors that many scholars have termed as the “excessive femininity” on
display in neo-burlesque.
According to Deborah Ferreday, the new performance “parodies fem-
ininity not through self-hating mockery, but through the production of
an excessive feminine self that is experienced as a source of pleasure.”16
Ferreday has identified the thick, red lipstick worn by performers such as
Dita von Teese as a fetishized signifier of the high-maintenance expecta-
tions of femininity that is employed to expose the artifice of beauty ideals.17
Similarly, Nally discusses the corset as a restrictive patriarchal device that
has historically shaped women’s bodies into impossible forms; yet when
worn by the self-aware dancer, it becomes a revaluated garment of female
satire.18 Reclaiming such artifacts can be a challenge to the idea of feminin-
ity as passive. The lineup of varying acts, distinguished by their costumes
and adornment, exposes the artifice of a monolithic ideal that is inscribed
upon the female body, a critique that can also be read into Teiboleras, as
the form of a heeled shoe and a diamond are physically imprinted into the
paper, directly over of the bodies of the performers. The identification of
124 J. Ratliff
ideals; in the end, it runs the risk of upholding them, once again, as the
ultimate objects of patriarchal desire. While a number of burlesque shows
demonstrate a wider range of bodily shapes and sizes than generally offered
by popular media and fine art representations, most of the well-known
dancers—Von Teese, Kitten DeVille, Immodesty Blaize, Michelle L’amour,
The World-Famous ∗ BOB∗ —do not necessarily fall outside of pervasive mod-
els. An exception is the New York-based dancer Dirty Martini, “an icon for
voluptuous women,” as she is called in a video interview with the website
PinUPassion.com.26 Her exceptional status is echoed in an editorial published
on the online version of the British magazine, Burlesque Bible, written by the
self-proclaimed “Grandmother of Burlesque,” Nanny Dora, who laments the
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lack of large participants on the stage, despite the genre’s concern with bod-
ily difference and its celebration.27 Thus, when burlesque is identified as a
form of drag that is meant to identify and subvert the construction and nat-
uralization of gender norms, it must be questioned as to whether the new,
popular performances actually constitute an effective form of parody. For
as Judith Butler has stated, “parody by itself is not subversive” and when it
falls back onto the “normal” or “original” it claims to be mocking, it becomes
nothing more than pastiche, a “blank” or “neutral” parody.28 Perhaps for
burlesque to truly “enact and reveal the performativity in a way that desta-
bilizes the naturalized categories of identity and desire” then it should be
executed in a manner that more directly calls attention to the constructedness
of so-called “naturalized” definitions of desire.29
I would argue that the key to performing (and viewing) the neo-
burlesque subject as a subversive body should be located within the idea
of “excess,” as it rehearses exaggerated femininity, but also as it is impli-
cated by the body of the performer herself. When Ferreday expounds on
burlesque as a “queering of normative beauty ideals,” perhaps it is no coin-
cidence that she moves to a discussion of fat burlesque, citing the 2007 short
film Fat Burlesque (directed by Cookie Tuff).30 The film, which features
the San Francisco–based Chainsaw Chubbettes, as well as commentary by
Asbill, describes the pleasure of the fat performer that is taken in claim-
ing and occupying physical space, building confidence, and expressions of
fat-positive sexuality. Ferreday re-emphasizes the importance of performer-
audience interaction, and the atmosphere of a burlesque community as an
essential aspect of its effectiveness in rewriting femininity. However, per-
haps she misses an opportunity to note that she is also discussing a type of
burlesque that is part of a fat-positive community and thus warrants being
distinguished as fat burlesque.
This is not to pit variances of “otherness” against one another; to
promote divisiveness amongst activists—feminist, fat, queer, or otherwise—
would be misdirected. However, because “the feminine body” and “the
fat, female body” are two distinct discursively-constructed entities (how-
ever related), and because female fatness has at times been constructed as
126 J. Ratliff
FIGURE 4 Christina Vela, Las Gordas, 2010–11. (Reprinted with permission by the artist)
(color figure available online).
NOTES
1. See Stefanie Snider, “Fat Girls and Size Queens: Alternative Publications and the Visualizing of
Fat and Queer Eroto-politics in Contemporary American Culture,” in The Fat Studies Reader, ed. Esther
Rothblum and Sondra Solovay (New York: New York University Press, 2009), 223–30; and Kathleen
LeBesco, Revolting Bodies?: The Struggle to Redefine Fat Identity (Amherst: University of Massachusetts
Press, 2004), 40–53.
2. D. Lacy Asbill, “‘I’m Allowed to Be a Sexual Being:’ The Distinctive Social Conditions of the
Fat Burlesque Stage,” in The Fat Studies Reader, ed. Esther Rothblum and Sondra Solovay (New York:
New York University, 2009), 300; Jacki Wilson cites 1994 as the approximate date of the neo-burlesque
revival and specifically notes the emergence and popularity of Dita von Teese as a primary factor in its
130 J. Ratliff
resurgence. Jacki Wilson, The Happy Stripper: Pleasures and Politics of the New Burlesque (London: I.B.
Tauris, 2008). 18.
3. Maria-Elena Buszek, “Representing ‘Awarishness’: Burlesque, Feminist Transgression, and the
19th-Century Pin-Up,” TDR 43, no. 4 (1999): 144. For a thorough history of 19th and early 20th
Century burlesque, see Robert C. Allen, Horrible Prettiness: Burlesque and American Culture (Chapel
Hill: University of North Carolina Press, 1991).
4. Here, “traditional striptease” is defined as an erotic performance of disrobing meant to seduce
or titillate an audience. Debra Ferreday, “‘Showing the girl’: The new burlesque,” Feminist Theory 9, no. 1
(2008): 47–8; Wilson, The Happy Stripper: Pleasures and Politics of the New Burlesque: 18.
5. Ferreday, “‘Showing the girl’: The new burlesque,” 50.
6. Buszek, “Representing ‘Awarishness’: Burlesque, Feminist Transgression, and the 19th-Century
Pin-Up,” 142.
7. Ferreday, “‘Showing the girl’: The new burlesque,” 50.
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31. For a brief discussion of cultural representations of the fat, female body, see Kathleen LeBesco’s
chapter entitled “Sexy/Beautiful/Fat” in LeBesco, Revolting Bodies?: The Struggle to Redefine Fat Identity:
40–53.
32. Wilson, The Happy Stripper: Pleasures and Politics of the New Burlesque: 46.
33. Asbill, “‘I’m Allowed to Be a Sexual Being’: The Distinctive Social Conditions of the Fat
Burlesque Stage,” 300.
34. Ibid.
35. Cookie Tuff, Fat Burlesque, (http://www.youtube.com/watch?v=xMI7EJCd2Rs: 2007), video.
36. Kathleen LeBesco quotes Hanne Blank as stating, “any sex involving a fat person is by definition
‘queer,’ no matter what the genders of any of the partners involved,” LeBesco, Revolting Bodies?: The
Struggle to Redefine Fat Identity: 88–89. Asbill discusses fat performances as appealing especially to lesbian
and queer subjects, in Asbill, “‘I’m Allowed to Be a Sexual Being’: The Distinctive Social Conditions of
the Fat Burlesque Stage,” 299–304.
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37. Mikhail Bakhtin, Rabelais and His World (Bloomington: Indiana University Press, 1984); as
Mulvey states, “carnival inverted the normal experience of daily life, celebrating excess for its own sake
in pleasure, food, drink, and sex,” Laura Mulvey, “Changes: Thought on Myth, Narrative and Historical
Experience,” History Workshop 23(1987): 11; Kathleen Rowe, Unruly Women: Gender and the Genres of
Laughter (Austin: University of Texas Press, 1995), 3.
38. Rowe, Unruly Women: Gender and the Genres of Laughter: 30.
39. Ibid., 31.
40. Ibid.
41. Russo, “Female Grotesques: Carnival and Theory,” 320.
42. Rowe, Unruly Women: Gender and the Genres of Laughter: 31.
43. Lesleigh Owen, “Living fat in a thin-centric world: Effects of spatial discrimination on fat bodies
and selves,” Feminism & Psychology 22, no. 3 (2012): 290–306.
CONTRIBUTOR
Jamie Ratliff holds a PhD in Art History from the University of Louisville.
Her research focuses on feminist art and representations of the female body,
particularly in Latin America.