Reflexive Thought #10 - Isotoric Ebb

Reflexive Thought #10 - Isotoric Ebb

I was on a the Metro Bus 754. I was on my way to Post Office to mail off some  paperwork. I have gained this knack for observing everything in any space I observe. Much like a camera taking film, this endeavor has been quite the exercise in its own right. The view outside my window is rich in images, objects, and activity. It's reflexive of a temperance in the spaces I occupy. These moments explicate the isotoric. Isotoric means "an equitable quality the Self contains in a moment of immersed euphoria, whether active or inactive, in any present space or time." Be advised that the Self could be active or inactive in it's position while in this state.



For instance, this video clip I recorded while riding the bus is to capture this priori, isotoric. I see this woman in comfort while "crocheting." Also, the images of a street corner during a Wednesday morning. I was engulfed in this idea I call isotoric. While recording these images, I remained objective; yet, I noticed how I was able to garner some emotional content contained in these organic splashes of surreality. It was relaxing, peaceful, and serene. This isotoric ebb created a muse from it's intrinsic environmental structure while active in it's present culture.

Endnote

There seem as nothing could broken. Hence, if one wants to excitate their isotoric ability, they must acknowledge the existence of the Self. From this priori, the Self can enhance this capability in an autonomous, fixated, and infused convention. This influx of emotion are derivative of the ego-complex, "the Self." This spark is the introduction to the isotoric existence. A mediation into meditation in space and time.

-Isotoric, the ability in credence and vision

I will have more to discuss about the isotoric phenom and what will represent in Reflexivity (Reflexive Psychology). Also, the meaning behind Panoptism and its relation to the isotoric.

Reflexivity (Reflexive Psychology) term:

Isotoric - an equitable quality the Self contains in a moment of immersed euphoria, whether active or inactive, in any present space or time.

Coculturation & 

Cultural Transformation: 

What more do they 

entail in the observation of culture?

As I stated in the previous blog coculturation is the process of acculturation and enculturation by influencing, an individual or a group with initiation into a culture based on their beliefs, attitudes, creeds, politics, and social rules while existing in that culture's environment."

From the lexicon, I, further, want to clarify what coculturation provides, compared and paired with acculturation and enculturation, in the process of cultural transformation. Now, cultural transformation is when an act or a process changes an individual, a group, or an event as they are conforming to a foreign culture's norms, beliefs in the guise of appearance, nature, and characteristics while gaining acceptance within the culture parameters in foreign or native environments.

In coculturation, there is a process that exist for an individual or a group who is evolving in this phenomenon. There are three phases in the coculturation process:

• Phase 1 (Primary level): This is the beginning stage where one have been introduced into the culture by an epiphenomenon. The time frame is 6 months to 2 years.
• Phase 2 (Secondary Level): This is the intermediate stage when one is progressing through the process of a cultural within the parameters of the epiphenomenon. The time frame is over 2 years to 5 years.
• Phase 3 (Third Level):  This is the advanced stage when one has progressed the process of the cultural within the epiphenomenon to full bloom. The time frame is over 5 years to 7 years.

I want to inject that Phases 1 and 2 are developed within the parameters, range of the acculturation and enculturation processes; but Phase 3 is the prudent stage, in which, time allows the individual, the group, or the event to cultivate the required knowledge and trust necessary for existence in a culture's environment, in order, to strike relativity in a native stance compared to having a novice, foreign stance of the culture, itself. 

Phrase 3 is probably the most important, because the definition states "one have to live in that foreign culture and environment, in order to achieve total cultural transformation." However, Phases 1 and 2 can be accomplished outside of the foreign culture in the native culture the observer exist in (counter-culture, cultural club or organizations for examples).

One has to complete all three phases to be considered totally "coculturated." For example, a student(s) at a high school who join a Spanish club are in the process of only Phase 1. Depending on the length of time as a member and the amount of training in the language and cultural history and ideas, one can only begin to tap into Phase 2 and possibly Phase 3. Although, there exist foreign exchange programs for students to live in the foreign culture for a semester or a fiscal school year; allowing these student(s) time to develop an understanding of the culture in it's raw environment. 

The thing here is some student will remain to live in the culture's environment while others return to their native environment with the experience and training oof the culture's language and ideas. That key piece of evidence is where coculturation hits a snag of sorts with this limbo in only Phase 1 and 2; once one steps into Phase 3, there is there is the totality of commitment to consider. One has to be truly engulfed in the process to be "culturated (transformated)."

In truth, coculturation can only be achieve if you follow the Phases completely. There are no short-cuts. if, one wants to be "ethnated" they must allow total commitment and follow the process to total completion. If, one can't finish Phase 3 then the reward will not come into total fruition of coculturation.

My next blog will be based on a phrase I call the "pleasure ion." One wonders what does it mean? What does this principle of pleasure refer to? Well, you will have to wait until the next blog.

Here is a little clip to introduce one to what may be a pleasure ion:

Also, I will be holding a writing contest real soon. Stay tune to these blogs. I will give details in about a month! There is a cash prize and a grand prize that is a new laptop computer. Over $500 dollars in prizes will be given away! Stay tuned!

I wrote this piece for a different website close to a year ago. I wanted to include a video. Well, this video (documentary) should explain what I wanted to convey with this article. The context should point out acculturation, enculturation, and coculturation processes of cultural transformation of the Self . This is one aspect of Reflexive Psychology.

Furthermore, in Reflexive Psychology, this is where culture collides with environment. What is unveiled is how environments influence, or is influenced, by culture. Even though, this is sexual in nature. The point is validly clear. Culture and environment goes hand in hand with the main aim being survival, power, and family. This phenomenon of "family" or "ban" is a stable for sex culture; henceforth, exotic-erotic dance, a.k.a. stripping. Enjoy the article and the film. 

THE STRIP GAME




The world of erotic dance

“. . . .it’s unheard of for one who has such inclination to be inclined to start a rebellion. The gentlemen [women] devote his [or her] efforts [are] the root[s], for once this root[s] is [are] established the Way will grow there from. Being as a good son [daughter] and obedient as a young man [woman] is perhaps, the root of a man’s [woman’s] character.” - -Confucius

What could be more entertaining then watching a woman or a man sensually move their bodies in arousal of one’s pleasure, or awaken one’s desire? Is there a connection for this act of sensual arousal or is this all business; nothing more than an income for the dance to fulfill their immediate living expenses to survive?
   
    As we know, Strippers (whether male or female) dance for money to pleasure their spectator’s voyeuristic endeavors. Strippers have been portrayed as “Whores”, “Home-wreckers”, “Sluts”, and “Teases”, etc. I admit every business has a good side and/or a bad side to them, but there is always a means to justify the sweat and the long hours these dancers put into preparing for their performance and their audience.

Erotic Dancing, as the definition states, is “[1] a major category or classification of dance forms or dance styles, where the purpose is the stimulation or arousal of erotic or sexual thoughts or actions.”  Furthermore, what more can I introduce in this piece to clarify thoughtful comprehension of this sexual phenomenon? I plan try to introduce, in both Parts, printed-electronic sources, a video clip, a movie, photos, and personal stories from various personalities who ascribe to this lifestyle, and how its impact upon their lives in an abstract and a concrete influence is key to understand the phenomenon and the performers. What can history provide for us about Erotic Dancing?

History of Erotic Dance culture.

    Erotic Dancing, (Striptease) has existed for close to 400 years. The evidence of its existence was recorded [7] in Thomas Otway's comedy The Soldier's Fortune (1681) a character says: "Be sure they be lewd, drunken, stripping whores". This insertion is the prime example of the existence of erotic dancing in an esoteric societal presence.
    There is the existence of a mythological story about erotic dancing in the “Dance of the Seven Veils of Salome;” as stated, “[7] at each of the seven gates, she removed an article of clothing or a piece of jewelry. As long as she remained in hell, the earth was barren. When she returned, fecundity abounded….” There is a quote in the Holy Bible from the New Testament, about erotic dancing, in Mark 6:21-22 that states, “[1] Finally [,] the opportune time came. On his birthday Herod gave a banquet for his high officials and military commanders and the leading men of Galilee. When the daughter of Herodias came in and danced, she pleased Herod and his dinner guests.”
    And lastly, [1] Ancient Greece set the tone for erotic dancing with a lawgiver named ‘Solon’ that state, “[He] established several classes of prostitutes in the late sixth century B.C. Among these classes of prostitutes were the auletrides, who were dancers, acrobats, and musicians. The auletrides served as early examples of the tradition of using dance to sexually excite men, with striptease included in the performance.”
    All these historical facts have provided supple information that leads us to the next phase of this discussion on erotic dancing. This investigation can slowly open the can of worm into this taboo world of seduction with the reclusive behaviorism centered upon a lifestyle dedicated to the’ servicing’ of desires for men and women. Yet, one could ponder the thought of a supernatural, spiritual entity existing in this dynamic of dancer and spectator, a sort of worship unveiled in these environments of the American underbelly in society. So, where does the erotic becomes exotic and at what cost? What is gained and how much is expected at the cost of these dancers and these spectators?

What are the costs for exotic eroticism?

When anyone visits a strip club they are there for an experience of pleasure, and relaxation from the world outside the establishment walls; this sanctuary from the constraints of daily ‘status quo’ is exclusive and, always, in high-demand.  Realization is the simple the principle to function as sedative of anxiety and stress from everyday life. The customer is allowed the time to unwind from their day for they could not receive at their private residence; however, the cost, for such an extreme lifestyle, can estimate variously.
    As I read from the book ‘Striptease Culture’ by Brian McNair, it was stated, “[8] the ‘pink pound’ is one manifestation of the fact that the pleasurable, recreational dimensions of sexuality have long made it the lucrative object of capitalist entrepreneurship, based on the transformation of desire and the promise of sexual pleasure into various types of commodity.” From this insert, we can narrow one’s assumption that erotic dancing has constructed a massive economic foundations; the money made, in this industry, is there and those who are willing to display themselves as products are able and freely with the small price attached to it.
    However the amount of this price tag for refuge-pleasure, a relevant peculiarity is the etiquette a dancer contains in her professional facade, which is ascribed with the territory of being a dancer. They must display gratitude, be ‘thankful’ to there customer much like a customer who has been ‘serviced’ a meal or drink. The key word is ‘serviced.’ This is an industry, like any, and people are being ‘serviced’ for their time; just as the product advertised, there will be a relationship derived from the ‘supply-demand’ ethic.
    For instance, I remember researching a subject for my sexuality paper and I watched a DVD of an adult film titled, “Asia Noir 3” that featured, the subject,  an adult star named Takako (a.k.a. Jade-Blue Eclipse); this DVD featured an interview with Takako, in which, she discussed various subject pertaining to her lifestyle as an erotic dancer and a adult film actress. She mentioned in this interview, “I feel, what I do, is giving a ‘service’ to my customers, nothing more.” Her professional attitude and unique personality was one of the powerful aspects of her [in]famous celebrity in the sex industry in San Francisco. As any other business, when an erotic dancer gives a private dance, striptease or performance on stage it is very important these dancers show respect and show gratitude to their customers. Their customers are their money-line and their attitude will produce results accordingly.
    The average salary for an erotic dancer depends on their qualifications as a dancer, just like any professional position, such as:
·    Experience (Years of dance expertise)

·    Establishment (Club a dancer works)

·    Attitude  

·    Appearance (Body type/Performance costume)

·    Skills (Type of dance style-format)

·    Schedule (Availability/Hours to perform)

[10][11] The pay will be effectual by the same attributes I have stated about; henceforth, the average an erotic dancer makes a night could range from 0$ to $7000; an average night could range from $200 - $800 (3-4 nights a week); an average week could range from $600 - $2400; and an average month could range from $2400-$9600; furthermore, their yearly salaries could equal or surpass a six-figure range.
    The money factor is one major influence, but the performance factor leads to an even greater motivation. These dancers opportunity for expression in front of a group is an accolade that serves a greater treasure, itself. The performance is a pleasure, and release similar to the constraints for an artist to render subconscious communication, tell a story, or express a thought; too add, from McNair’s book ‘Striptease Culture’ a discussion about women artist in the book solidify my point, “[8] Women have, historically, been ‘underarchievers’ in art because they have lacked not talent so much as social, economic and cultural power to be artists in a male-dominated world.”  That sentence expresses the fact why erotic dancing is a popular occupation for women (however, men are dancers as well, but their sexual orientation could be a mood factor to easily choose this profession) and how important it is for some of these dancers, artist to exist as they have been.
    Some of these dancers are seizing these occasions for this moment, this forum, and this style to be vivid as artist and shine as performers while escalating towards something greater in their lives. How great could they become? Better yet, what does this culture offer these erotic dancers, in life, that many other avenues can’t provide?

What does Erotic Dance culture provide?

  These erotic dancers have created a culture, a place in the world, where they can feel safe, secure, and comfortable about their personalities inside and outside of the establishments they work. Whenever a group of individuals are a part of a group they call it many things: a unit, a gang, a brotherhood/a sisterhood, an order, and a clique, but these words lead to one major focal nomenclature – “FAMILY.”

     The vital aim is to sustain cultural strength; by continual increase of dividends, and forging stout relationships with the clients, and amongst the dancers themselves. The support base for this community, of taboo-sex culture, has many powerful tides with many prominent figures in the cities these establishments exist. As Krishnamurti has stated in his book On Love and Loneliness, “[12] so can our minds fine freedom? Can our minds be tremendously alive and clear, perspective? – not[,] the perception that we have gathered from others, from philosophers, psychologists, and the so-called spiritual teachers, who are not spiritual at all. When there is a quality of deep, passionate freedom, then sex has its own place.” This community is the freedom and the space many seek in their private fantasies of pleasure. These dancers understand what they are providing is a therapeutic remedy for the clients in need of their moment in sanctuary; however, this relation is vice-versa for the dancers themselves have gained motivation and self-confidence from the attention of their clients and their dividends they received from their performance.
    The erotic dance culture is just like any other culture. They want to find a place in this world where they can express, provide a source of livelihood (income), and enjoy the many freedoms people would on a regular basis. Most of these dancers seek this position as a quick dividend-growth opportunity toward affording advancement opportunities in their life. It’s very interesting and very inspiring to acknowledge many of these dancers are not prostitutes, not drug addicts, or gangster’s girlfriend. They come from good families (some who know about their lifestyle), are dance performers (different dance disciplines), are actors-actresses, and are students; who are seeking to fortify their incomes for a more sustainable future. However, where will this culture be in the future? Will there be an existence of an erotic dance club in 10 years?
When will the dancer’s flame burn out?

   What future awaits the Erotic Dance culture?

The economy has brought a drastic shift with a momentous derailment of prosperity; regardless of this fact, there exist many erotic dance establishments with many clients seeking adult entertainment. As McNair points out in ‘Striptease Culture,’ “[8] Anthony Giddens has correctly observed that ‘sexuality is a terrain of fundamental political struggle and also a medium of emancipation.’” Sexuality has a strong attachment to the socio-political duality of American culture.  The nuance phrase ‘sex sells’ runs sublimely in the hearts and the minds of the clients, of the dancers, and the business owners of these establishments, understanding this need of private and of sexual sanctuary for a particular group of individuals is a key selling point. It’s historical, spiritual, and traditional in one shell; however, the voice and the stories of the erotic dancers, themselves, are another side of the coin. 
     I focused much of the discussion on the socio-political facet of this phenomenon, yet I had no room in this article to express who these dancers are, as people. Therefore, I will discuss more in Part 2 in that area with plenty stories and plenty explicative tidbits of information about these dancers, in a personal scope;  yet, will this better explain why these people have become erotic dancers? Will this add clarity to a subject about a lifestyle many consider obscene, obscure, and oblivious to morality? As I write this piece there is some man or woman right now dancing their time away for a means unknown to them, but what is certain for them as they continue to dance their time away in an establishment in some part of a city distant from our lives, but encompassed in their world?

REFERENCES

[1] Erotic dancing. (2010, August 11). In Wikipedia, The Free Encyclopedia. Retrieved 16:55, August 25, 2010, from http://en.wikipedia.org/w/index.php?title=Erotic_dancing&oldid=378339825

[2] Striptease. (2010, August 24). In Wikipedia, The Free Encyclopedia. Retrieved 16:56, August 25, 2010, from http://en.wikipedia.org/w/index.php?title=Striptease&oldid=380738598

[3] Krishnamurti, Jiddu. (1994). On love and loneliness. HarperOne.

[4] McNair, Brian, Librarian-at-Large, University, Librarian, University, Division, British, Services, British, & Bibliography, Council. (2002). British national bibliography. Psychology Press.

[5] Confucius, Confucius, & Lau, Dim. (1979). The Analects (lun yü). Penguin Classics.

[6] Testimonial, Student. (2009, May 13). How much Money do strippers make?. Retrieved from http://www.stripandgrowrich.com/blog/tag/how-much-does-the-average-stripper-make/

[7] Avalon, Rebecca. (2010, May 9). Stripper wages - how much money do strippers make?. Retrieved from http://ezinearticles.com/?Stripper-Wages---How-Much-Money-Do-Strippers-Make?&id=4259406