Enemies of Grooviness Eat Sh!t | Betty Grumble
Well, sh!t was well and truly ate. Physically (at one stage there was sh!t eaten), symbolically. Produced by Performing Lines and performed by Emma Maye Gibson as her alter-self the sex clown Betty Grumble, Enemies of Grooviness Eat Shit is a séance of whole body self-love and ownership.
From the moment I entered the theatre I felt a wave of cheer and welcoming. The whole audience was co-mingling, laughing, and playing with the makeshift instruments on the chairs. It invited a feeling of safety and sharing, and that’s what Grumble did. One of the most outstanding features was the absolute comradery, strength and empowerment that comes when you witness someone be completely unashamedly owning their body and their space. The whole vibe felt like a protest; a protest against injustice, the patriarchy and anyone who has ever made you feel ashamed for existing in your body. We are reminded that those people, the enemies, can indeed eat shit.
The audience was popping off for pretty much the whole show. There was woo’s, screams, whistles, the rattle of our homemade shakers, uncontrollable laughter and pretty much any noise of support a human can make. This is not a passive show, and the audience were in constant communication with the artists. I am a silent admirer and never feel the impulse to cheer, but this didn’t hinder me from feeling like I was appreciating. My lack of vocal impulse didn’t exclude me from the group experience the audience was having.
Most people know what they are getting when they purchase a ticket to a Betty Grumble show. There are explicit content warnings all over the program, the venue and online. But the ‘grief cum’ was a little much for some people. There were a few people that exited the venue at this time. Grumble gave ample warning of the actions that were about to follow, and that people were welcome to leave, close their eyes, or whatever made them feel comfortable. There were still little awkward laughs, and nervous whispers when the ‘grief cum’ was happening as we all adjusted to witnessing something that society has told us is shameful and dirty in a very empowering, ritualistic, non-sexual way. Grumble was reclaiming her autonomy and pleasure from those who have physically violated it.
A highlight for me was the revenge poem, as Grumble is bathed in a sinister red light she shares her revenge poem. “Hell hath no fury like a woman scorned.” Revenge against the court system and seeking justice for her abuse caused another form of abuse. The entire audience fell silent during this piece. The total opposite from the rest of the show. The childlike voice that came through in sections of the poem was confronting, but not in a way that turned me off, but in a way that beautifully articulated the universalness of the revenge. The performance addresses three things, grief, pleasure and justice. The way Grumble handles these things with her body, music, props and words allows you to honour these animalistic and intense sensations, rather than ignore them.
The energy between Grumble and her assistant, Craig Slist, was electric. They complimented each other perfectly and Craig was a perfect support for Grumble. Craig also acted as another body I could observe when the content was getting overwhelming. As humans we always seek that relief when we start to get un-comfy, subconscious or not. The whole performance was handled with extreme care and paid homage to fellow activists, Annie Sprinkle, Candy Royalle and Elizabeth Burton. These women were, and are, trailblazers just like Emma Maye Gibson. Honouring and sharing the work of these women fits into the larger societal purpose of the work.
As aforementioned the vibe felt like a protest, and indeed it is a protest. The enemies are the voices of power in our society, including but not limited to the omnipresent straight, white, men. It is a completely rebellious act to give power and a voice to women and the queer community. It is a rebellious act to connect with and love your body. It is an even more rebellious act for this show to be partially government funded and programmed in a mainstage festival. There are small changes putting womxn in spaces of power, but it’s not not enough. I have learnt that it is simply not enough to just preach, you must live out your beliefs, fully embody them to create real change. Yes, the content is explicit because words aren’t enough. There is nothing shameful about pleasure. Grumble is preaching to the converted with myself. The way the content is presented you can’t help but talk about it, think about it and write about it. These conversations and thoughts are creating little ripples that are flowing out to the wider community. Every time Grumble performs another ripple is created. So perhaps a sex clown can save the world, one ripple at a time.
