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artist ■■ grace jones
release ■■ on your knees/don't mess with the messer
year ■■ 1979
genre ■■ disco
label ■■ island records
catalogue ■■ 789-100
date ■■ 29-dec-2002
quality ■■ 192kbps/44,1khz
source ■■ vinyl
■■ tracklist ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■
a on your knees 3:46
b don't mess with the messer 4:06
playtime ■■ 00h 07m 52s
■■ comment ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■
in the late 1970s and early 1980s, grace jones boldly interrogated
both racial and sexual stereotypes associated with the black
female body, through her work in performance. interestingly,
jones, a jamaican born artist, was actively working in the
parisian fashion world as a model at the time she moved into
performance art. her involvement and popularity in the parisian
fashion world as a spectacle, being a model, may be compared with
the likes of josephine baker and saarjite baartman before her,
black females whose bodies became the locus of the parisian
imagination.
jones' bold and often confrontational dress and performance style
played with and disrupted primitivist myths about black sexuality.
in collaboration with artists like jean-paul goude and keith
haring, jones transformed her body into medley characters, many of
which satirized a primitivist reading of the black female body.
the multiple personas of grace jones ranged widely from overly
sexualized dance performances in which she donned a gorilla or
tiger suit to very masculinized self-representations. for these
performances jones would appear with a crew cut in a tailored
men's suit. both these modes of representation in jones' work, as
hyper-sexualized animal and instances of cross-dressing have been
related to josephine baker's performances, more specifically, her
"jungle" performances in banana and tusk skirts and the famous
photographs of baker in a top hat and tuxedo (kershaw 21).
in 1985 jones collaborated with keith haring in a performance
staged at paradise garage, an alternative dance club in new york
city. for the performance haring painted jones' body in
characteristically haring-stylized white designs. interestingly,
haring's body art was inspired by the body paintings of the
african masai. jones also adorned her body with an elaborate
sculptural assemblage of pieces of rubber, plastic sheen, and
metal, created by haring and david spada. a towering sculptural
headdress topped off the costume. her breasts were delineated
with protruding metal coils. the metal coils were a deliberate
reference to an iron-wire sculpture of josephine baker by artist
alexander calder. later in the performance jones appeared in a
baker-style skirt, composed of yellow neon spikes. through the
painting, adornment, and importantly through her performance,
jones played with iconic signs of "the primitive," and transformed
these signifiers and her body into a site of power.
■■ visit ln~#klangwerk
Files
Path
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[BMW]-[Disco-1979]-(10.8 MB in 2 files of 192kbps Stereo)-[bender@reco