Katy Pilcher

A 'sexy space' for women? Heterosexual women's experiences of a male strip show venue

The rise of male strip shows marketed towards heterosexual women has called into question the idea that only men can ‘gaze’ or be ‘sexual scrutinizers’ in public leisure spaces. This paper details the findings of an ethnographic study of a male strip event ‘Cheeky’s’, 1 located in the Midlands, England. Utilising observation, informal interviews and photography, the paper describes the physical environment and the atmosphere of the event, and analyses interview data with female customers. The paper questions what spaces such as Cheeky’s mean for female sexualities, sexual roles and desires. The findings are twofold. On the one hand the club was a relatively novel sexual space, as some women spectators experienced it as an ‘empowering’ space in which they could be ‘sexually aggressive’; on the other hand, the character of the club was actively and adeptly manufactured by the Master of Ceremonies (MC), and male dancers, so as to encourage – and even to coercively elicit – extrovert behaviour from women customers. Despite shifting normative gendered expectations of women’s sexual behaviour to some extent, ultimately the club structured women’s sexual experiences around traditional heterosexist lines. The club did not encourage women’s autonomous sexual expression, and many women claimed they had not found it a very ‘sexy space’.

Issues of collaboration, representation, meaning and emotions: utilising participant-led visual diaries to capture the everyday lives of people in mid to later life

Abstract In recent years there has been an increasing use of visual methods in ageing research. There are, however, limited reflections and critical explorations of the implications of using visual methods in research with people in mid to later life. This paper examines key methodological complexities when researching the daily lives of people as they grow older and the possibilities and limitations of using participant-generated visual diaries. The paper will draw on our experiences of an empirical study, which included a sample of 62 women and men aged 50 years and over with different daily routines. Participant-led photography was drawn upon as a means to create visual diaries, followed by in-depth, photo-elicitation interviews. The paper will critically reflect on the use of visual methods for researching the daily lives of people in mid to later life, as well as suggesting some wider tensions within visual methods that warrant attention. First, we explore the extent to which photography facilitates a ‘collaborative’ research process; second, complexities around capturing the ‘everydayness’ of daily routines are explored; third, the representation and presentation of ‘self’ by participants within their images and interview narratives is examined; and, finally, we highlight particular emotional considerations in visualising daily life.

Dancing for women : subverting heteronormativity in a lesbian erotic dance space?

This article utilises participant observation, interview and collaborative visual data, collected with women erotic dancers, management and customers, to ascertain how far heteronormativity is subverted in a UK lesbian leisure space, Lippy (the name is a pseudonym), which provides erotic dance for women customers. The potential for a female ‘gaze’, the ‘normativity’ of gendered and sexualised bodies, and the notion of a ‘women’s space’ are taken as areas for analysis. Women’s engagement with erotic dance is complex, and this article examines the connections between sexual agency and gendered power relations, questioning how far women can exercise autonomous sexual expression in commercial sexual encounters.

Performing in a night-time leisure venue: a visual analysis of erotic dance

This article analyses a range of different meanings attached to images of erotic dance, with a particular focus on the ‘impression management’ (Goffman 1959) enacted by dancers. It presents a visual analysis of the work of a female erotic performer in a lesbian erotic dance venue in the UK. Still photographs, along with observational data and interviews, convey the complexity and skill of an erotic dancers diverse gendered and sexualised performances. The visual data highlights the extensive ‘aesthetic labour’ (Nickson et al. 2001) and ‘emotional labour’ (Hochschild 1983) the dancer must put in to constructing her work ‘self’. However, a more ambitious use of the visual is identified: the dancers own use of images of her work. This use of the visual by dancers themselves highlights a more complex ‘impression management’ strategy undertaken by a dancer and brings into question the separation of ‘real’ and ‘work’ ‘selves’ in erotic dance.

Politicising the ‘personal’: the resistant potential of creative pedagogies in teaching and learning ‘sensitive’ issues

ABSTRACT Drawing upon student narratives gleaned through qualitative interviews, this paper argues that teaching and learning ‘sensitive’ issues surrounding gender and sexualities through ‘creative’ pedagogies can be a mode of resistance against the reproduction of problematic social discourses, and to the negative impacts of neoliberalism on student’s learning within higher education. The findings point to the importance of speaking about sensitive issues; the value of creative approaches for enhancing learning; and that together these can enable students to articulate an agenda for social change. Students saw the ‘personal as political’ – of sharing personal journeys around sensitive issues as important. They further spoke of ‘apathy’ in an neoliberal era of student ‘consumers’ and how this could curtail ‘creative’ teaching and jeopardise learning. Overall, it is argued that creative approaches to teaching and learning sensitive issues can invoke a resistant potentiality which exposes the ‘hidden injuries’ (Gill, 2010) of the neoliberal university.

Visual Representations of Digital Connectivity in Everyday Life

This paper draws on data from the empirical study Photographing Everyday Life: Ageing, Lived Experiences, Time and Space funded by the ESRC, UK. The focus of the project was to explore the significance of the ordinary and day-to-day and focus on the everyday meanings, lived experiences, practical activities and social contexts in which people in mid to later life live their daily lives. The research involved a diverse sample of 62 women and men aged 50 years and over who took photographs of their different daily routines to create a weekly visual diary. This diary was then explored through in-depth photo-elicitation interviews to make visible the rhythms, patterns and meanings that underlie habitual and routinized everyday worlds. The data was analysed using the software Atlas Ti. The analysis highlighted: (1) the increasing importance of digital connectivity and the ways in which people in mid to later life actively engage (and resist) technologies of communication in their daily lives; and (2) the significance of embodied co-presence and the immediacy of shared space and/or time. Exploring the routines, meanings, and patterns that underpin everyday life has therefore enabled us to make visible how people build, maintain and experience their social and virtual connections, and the ways in which digital devices and information technologies are being incorporated into (and resisted) within daily life.

Erotic performance and spectatorship: new frontiers in erotic dance

Erotic dance is one of the most contentious issues in feminist debates today and a source of fascination in media and popular cultural representations. Yet, why is it that we currently know so little about those who perform erotic dance for female customers, or the experiences of these spectators themselves? The result of a unique investigation within two of the UK’s leisure venues, Erotic Performance and Spectatorship seeks to rectify the aforementioned lack of insight. Through vivid ethnographies of a lesbian leisure venue and a male strip show, Pilcher’s research advances key debates about the gender and sexual politics of erotic dance, whilst simultaneously relating these to debates about the sex industry more widely. This book also subverts previous assumptions that only women perform erotic dance and only men spectate. Thus, this book stands out amongst other academic accounts, developing the debate beyond the established focus on erotic dance as either empowering or degrading. This new contribution to the study of erotic dance – which provides a fresh theoretical perspective combining queer and feminist theorising, in addition to rich empirical evidence – will appeal to academic researchers and both undergraduate and postgraduate students within the fields of sociology, gender studies, sexuality studies, gay & lesbian studies, feminism and other neighbouring disciplines. It will also be of interest to feminist and sex work activists, policy makers, and practitioners