To our mind, it is the appearance of openly advertised shows and more or less specialist venues accessible to anyone willing to pay that marks the advent of striptease. 2 The early history of striptease was characterised by the assertion that this was a public performance, in other words, one not confined to a small group of initiates. Although striptease certainly has a prehistory, in this paper we have preferred to focus on its history in order to avoid any confusion over its genealogy. Despite this, little information exists on the advent of the practice, whether in Japan or elsewhere. 4 See in particular Ozawa Shōichi 小沢昭一, Fukai Toshihiko 深井俊彦 and Nakatani Akira 中谷陽, “Kieru hi, Moe (.)ģThe term “striptease” most likely appeared in the early 1930s, or even slightly before according to some sources 1 however, erotic shows that in retrospect could be given such a label no doubt existed earlier.3 Although sources have difficulty agreeing on a date, it seems likely that the first shows of this (.).2 In Japan, the history of striptease is clearly interlinked with that of music halls, Asakusa Opera (.).1 Rachel Shteir, Striptease: The Untold History of the Girlie Show (New York: Oxford University Pres (.).Yet it would clearly be anachronistic to claim Ame no Uzume as a pioneer of striptease, whether in Japan or the world at large. The Kojiki reports that as far back as the Age of the Gods, Ame no Uzume 天宇受賣 removed her clothing during a dance, provoking general hilarity among the assembled gods and enticing the sun goddess out of her hiding place. While this evolution in form is intimately linked to the evolution in mores, and thus to changing perceptions of striptease, the growing inventiveness of these performances makes them a valid object of study from an artistic point of view.ĢIt would seem logical to assume that the act of stripping is as old as clothing itself. Contrary to popular belief, formal variation appears to have been much greater than one might think. Nevertheless, we believe there is also merit in exploring the forms that striptease has taken throughout its history.
![virtual stripper nude male isolated naked virtual stripper nude male isolated naked](https://fi1-ph.ypncdn.com/videos/201908/26/244205801/original/6(m=eKw7Kgaaaa)(mh=4G-IkD-flP2PJEgb).jpg)
Which in turn raises the issue of the normative stance taken towards what, for the sake of convenience, we will call “pornography.” In other words, is the society in question for or against it, and above all, to what extent? Any merit there is in studying striptease would thus seem to lie in what it may tell us about the attitude-permissive or intolerant-of a given society in terms of erotic mores. The only remaining question would thus seem to be how the act is perceived, whether or not it is considered art. The distribution of roles within the practice-with women on stage and men in the audience-is intuitively suggested by our everyday experience of life in a phallocratic society and by the place the female body occupies in the erotic imagination. The faces of the watching crowd become animated, registering delight for some, disillusionment or even outrage for others. A dancer undresses in public, gradually revealing her naked body on stage. URL : cipango/2230 DOI : 10.4000/cipango.2230ġOn the face of it, defining striptease does not appear to pose a problem: it is an erotic spectacle in which a performer disrobes. Original release: Éric Dumont et Vincent Manigot, « Une histoire du striptease japonais », Cipango, 21, 2014, 133‑185, mis en ligne le 26 septembre 2016. We are sincerely grateful to Hara Yoshiichi 原芳市, Moriyama Daidō 森山大道, Moriyama Sōhei 森山想平, and the estate of Hirooka Keiichi 広岡敬一 for allowing us to reproduce the images in this article for free.
![virtual stripper nude male isolated naked virtual stripper nude male isolated naked](https://i-stripper.pro/st/thumbs/x/23935.jpg)
Amorcée dans les années 1960, la troisième période est quant à elle caractérisée par une intensification du contenu sexuel des performances. Ces établissements conduisent à un « âge d’or » de l’effeuillage marqué par une inventivité, des innovations scéniques pétulantes et la consécration de vedettes. C’est néanmoins à la charnière des années 1950 que la pratique se généralise avec l’apparition, à Asakusa notamment, de théâtres consacrés au striptease.
![virtual stripper nude male isolated naked virtual stripper nude male isolated naked](http://g.kcolbda.com/e1263/full/VGI1298P02068.jpg)
Dès 1947, l’insertion de « nus » sous forme de tableaux vivants dans les spectacles de revue se multiplie. L’après guerre connaît une diffusion massive de représentations visant à érotiser le corps féminin. L’analyse des formes concrètes de ces performances et de leurs évolutions permet de dégager trois périodes distinctes. S’il existait indiscutablement des corps nus au Japon avant la défaite, c’est pendant l’occupation américaine que virent le jour des spectacles exploitant la nudité féminine.