This is burlesque. Performer and teacher Miss Deena Ray is guiding a handful of specially-selected women as they create Belgium’s very first burlesque dance troop, to be called Schoon Madammen (Beautiful Madams).
It’s the brainchild of Radio Modern, the retro dance party organiser whose popularity shot through the roof last year, with sell-out crowds all over Flanders, particularly in their home base of Ghent. Radio Modern has brilliantly capitalised on the band wagon of romanticising the dance days of yore: from rockabilly pompadours and petticoats to the Charleston and the lindy hop. Now they are launching a new party theme: Ne Vuilen Avond (A Naughty Evening), which reaches back even further, with 1920s and ’30s carnival flair – think sword swallowers, acrobats, magicians and, of course, burlesque.
What is burlesque – exactly?
Commonly associated with Moulin Rouge can-can girls, theatrical burlesque spread throughout Europe in the 18th century as a musical act mixed with political satire. In England, it became a form of comedic theatre, throwing low-blow punch lines at high brow art, often performed by female leads.
This gained in popularity in the US in the 1900s as it evolved into more bawdy humour, eventually incorporating striptease. This vaudeville showmanship became a performance genre that encompassed a handful of common elements: humour, music, a theme utilising props and costumes and a strip routine.
The 21st century brings us “neo-burlesque”, and various subcultures have merged to form this new take on old art. Neo-burlesque combines a feminist approach with a celebration of all kinds of beauty and body types and a healthy appreciation for pin ups and old-school sexiness.
Aside from the seductive quality of the retro culture, Goth music has also heavily influenced the new burlesque. Known for its pale-faced, black-adorned, sulking teenage fans, its inclination towards frilly Victorian shirts, corsets and dramatic make-up helps fuel the burlesque fire. Goth rocker Marilyn Manson was briefly married briefly to Dita Von Teese, who has been dubbed by the Los Angeles Times as the “queen of the new burlesque Renaissance”.
Belgium, meet burlesque
In Belgium, it was Radio Modern that stepped up to the plate. Public relations manager Jill Mathieu, with her Bettie-Page hair cut, multiple piercings and day job as editor of the alternative magazine Vice, was the ideal candidate to spearhead the project. Having seen already a number of burlesque shows in Europe, she and Radio Modern’s creative director eventually came up with the carnival-themed night. The only hiccup was that burlesque dancing. While steadily gaining fans and acts across Europe (most notably London, Amsterdam and Berlin), it had failed to make its way to Belgium.
Knowing that burlesque was a core element of a successful 20s cabaret-style party, Mathieu began to search for performers. But there simply were none. “We didn’t intend to be pioneers, but we also didn’t see the sense in waiting for it to happen,” Mathieu says. “Someone had to do it.”
A solution was created in the form of a contest: women chosen to participate would be given three free workshops in burlesque, perform their own act in front of a crowd, and the winning shows will be incorporated into Ne Vuilen Avond.
Mastering the bump and grind
More than 100 women applied for contest, submitting photos and filling out forms describing their motivations and any assets, such as an ability to sing or tap dance. They were chosen not on looks but on style, stresses Mathieu. “We turned away a number of models. That’s not what we wanted. Burlesque isn’t about having the perfect body. It’s actually the imperfections that are interesting.”
Seventeen of the 24 women chosen decided to compete. They took crash courses in theatre, drama and stage presence and were whittled down to 14. The second round went over practical aspects. (Tip: don’t put on your gloves until right before your act, otherwise your hands get sweaty, and the gloves are too difficult to pull off). They learned some basic burlesque moves like the “bump and grind”, and soon the 14 became nine. Of these, all or very few could make it into Schoon Maddamen, depending on the jury’s decision after the performance finale.
Which brings us back to Deena Ray. The Dutch burlesque performer was brought in to teach two classes on the art of the strip tease. She’s happy about the rise in popularity of this performance art. “I was a pole dancer for 10 years, but this is seen as trashy,” says the 34-year-old. “Burlesque is exciting – it’s playing and experimenting. It combines all the elements I like: athleticism, theatre and an expression of my talents. It’s trying to express my sexuality in a creative way.” At the behest of Mathieu, she now is guiding the nine Flemish women as they create and finesse their own routines, each startlingly unique and crafted completely on their own.
The commitment of participants is apparent. They cobbled together their own costumes and props and chose their own music, choices that are often unusual. Lisa Deere, a petite 28-year-old makeup artist, plays up her sweet, innocent look with pink ribbons, glitter and a song about candy. Her outfit is pieced together with pins and Velcro, featuring a tutu from Oxfam and an old prom dress she’s cut to size for her small waist.
She laughingly relates her boyfriend’s reaction to what she’s doing – “the more you keep on the better” – but his support is evident in her props. He provided the enormous rotating cake stand upon which she sits. “He made it for me from an old kitchen table,” she says. She repeats the best piece of advice she has received so far: “Dance for the women. The men are always happy to see us, but you have to be more creative for the women.”
Miss Flexy Lexsy, meanwhile, a 26-year-old accountant from Ghent, kicks, splits and stretches her way across the stage. Another woman in her 30s plays a tired housewife putting the laundry out, while another presents a comedic act playing a detective. Each act has a strong DIY ethic.
Mathieu is also putting together an act of her own. “I’m not a very creative person, but I really want to make something all on my own. You pick the song and the theme, you source and make the costumes and the props, and you create the choreography. You find the thing you do best and use it.” Before I can even get the question out, she adds: “I don’t know what it is I do best, but I want to find out. This is something I had to try.”
6 February Alas! The very first Ne Vuilen Avond is sold out! CC Mechelen won’t know what hit it during this premiere of Radio Modern’s new party with a carnival atmosphere and burlesque performances.
19 February Schoon Madammen voor Ne Vuilen Avond: The Finale. A juried competition to choose the women who will become Schoon Madammen. 22.00, Vooruit, Sint-Pietersnieuwstraat 23, Ghent
12 March The second Ne Vuilen Avond but the first to feature the new Schoon Madammen revue! From 20.00, Vooruit, Sint- Pietersnieuwstraat 23, Ghent
6 February to 6 March Ne Vuilen Expo: Exhibition of pin-up and burlesque photos, free entry. CC Mechelen, Minderbroedersgang 5
Hailing themselves as a nostalgic trip to the 1940s and ’50s, the Ghentbased Radio Modern hosts sell-out retro dance parties all over Flanders. Started three years ago by Ben Moulin, a well-known DJ and VJ, the swing dance party has evolved into a full-on production with lines out the door and around the corner.
In a smart bit of marketing, Radio Modern coaxes in those on the fence, who want to dance but don’t think they look the part: you can get your hair and make-up done in 1940s style, with pin curls and red lipstick, right at the event. Rockabilly vendors sell their wares as dance teachers leads the crowd through some basic swing dance moves. In another room, live performers (often the über popular Lady Linn) croon jazz favourites. Eventually, DJs spin tracks into the late hours.
Radio Modern crowds are an interesting blend of trend followers, dance addicts and rockabilly scene-sters – but mostly just people who want to have a good time.
Flanders Today is a 
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