A neck coiled with rope. A waist cinched with a leather-based belt. Lips clipped with garments pins. Nipples festooned with fishing lures.
To behold the early photographic self-portraits of Fakir Musafar, born Roland Loomis in 1930, is to be awed by a uniquely transgressive, and prescient, imaginative and prescient. In his newest documentary, director Angelo Madsen’s A Physique to Dwell In embraces the artist’s many contradictions — taking a multilayered perspective on Musafar’s life to creatively excavate his position as a pioneer of utmost physique modification.
As a teen, Musafar transformed his mom’s fruit cellar right into a darkroom, the place he took semi-nude self-portraits in varied states of erotic bondage, displaying off his secretly pierced and tattooed physique and infrequently lounging on a mattress of nails. Regardless of rising up an altar boy in a “hell and brimstone” Lutheran church, he was drawn to “freaks and circus people,” in his phrases, who handed by his tiny city.
Nonetheless from A Physique to Dwell In, dir. Angelo Madsen
In a time when tattoos and piercings have turn out to be mainstream, A Physique to Dwell In reminds us of the difficult, usually controversial, roots of physique artwork — together with its enduring connection to queer communities and gender nonconformity. Collaging archival footage, interviews with Musafar’s contemporaries, and a choice of the artist’s typewritten poems, Madsen stitches collectively the artist’s unlikely rise from Korean Struggle draftee to an icon of San Francisco’s underground homosexual and kink scenes.
We additionally find out about Musafar’s lead position within the “Modern Primitive” motion, and its lasting subcultural resonance. His print zine Piercing Followers Worldwide Quarterly, which celebrated the intersection of BDSM and physique modification, would later spin off right into a extra religious course that formed the Fashionable Primitive subculture: “When you make an opening in somebody’s body,” he lectures in certainly one of many voiceovers, “you’re making an opening in a psychic body.”
Regardless of one’s edgy appetites, a lot of the imagery in A Physique to Dwell In just isn’t for the faint of artwork. We witness Musafar’s spouse, artist Cléo Dubois, bear a clitoral piercing meant to heal her of the trauma of a number of sexual assaults. “No more rape!” her companions shout to the beat of a drum in a bucolic setting. We additionally be taught of the intersection between “Modern Primitive” acolytes and the ritualization of mourning these misplaced to the “plague” (as they known as it) that we now know because the AIDS pandemic. “When life and death are so close, doing mundane things just doesn’t cut it,” explains one Fashionable Primitive member. “You need to go deep — to deeply feel and deeply experience what you’re going through and strive for some relief.”
Nonetheless from A Physique to Dwell In, dir. Angelo Madsen
As affecting as these rituals are, they clearly acceptable from Indigenous cultures — when he was younger, Musafar was impressed by the traditions of the folks of the Sissiton Sioux Indian Reservation, upon which his White household lived. The documentary acknowledges the moral penalties of the Fashionable Primitives’ practices, together with a face-off between Musafar and Indigenous tribal leaders on a 1986 speak present. By 1993, three tribal teams publicly condemned appropriation; by 2003, the Lakota folks “formally banned non-Indigenous people from sacred rites.”
Simply as Madsen resists indulging in nostalgia for a time earlier than the mainstream reputation of homosexual subcultures, he resists a moralizing revisionism towards the previous. Musafar’s personal battle with most cancers is rendered with comparable steadiness. Finally, A Physique to Dwell In is a poetic, usually unsettling movie — one which invitations us to contemplate whether or not “the whole purpose of life,” as Musafar asserted on his deathbed, “is to finally get out of a physical condition.”
Upcoming screenings of A Physique to Dwell In may be discovered on the movie’s web site.
