Purim: Masks and Masquerades
[adapted from an article by Dr. Pnina Galpaz Feller http://www.myjewishlearning.com/holidays/Purim/TO_Purim_Themes/Masks.htm and entries from http://www.wikipedia.org/]
Masks have a long history in the world's culture, and they play an important role in the Purim story.
Masks are a kind of veil that covers the face and hide one's identity while at the same time highlighting one's character. The Italian word maschera, the English word mask and the French word masque are all derived from the word moska that originated in Lombardy and meant dead person, because in many cultures masks were associated with the world of the dead.
The earliest depiction of a mask was found in a cave painting in the Arige region of France. The drawing apparently shows a shaman wrapped in animal skins and wearing a horned mask. The wearer of the mask is a male shaman, a priest who mediated between the world of man and the world of the spirits.
The mask in the image of an animal seems to indicate that people then believed that animals have magical powers and they somehow roll over into masks that depict them. The mask wearer believed that the animal's magical powers passed over to him. Animal masks date back to very ancient times. In those days people believed that masks could be used to communicate with the supernatural.
Masks & Magic
Masks were often worn during magical ritual ceremonies in the ancient world and are still commonly used in Papua New Guinea and among African tribes. The source of this practice is the custom of trying to mislead evil spirits and demons. The masks were intended to instill fear and were a means of frightening these spirits. African, pre-Colombian, Celtic, and other peoples are known to have used such masks, which were the domain of men and later evolved into war masks worn in battle against various tribes and other groups in addition to some other uses among them, fighting impurity and illness, promoting fertility, and assisting hunters.
During fertility rites, women were actively involved playing roles that symbolized birth, growth, and the like. Other very ancient masks--some as old as 9,000 years--made of limestone with two eyeholes and a mouth filled with teeth have been discovered in Israel. These Neolithic masks do not depict specific human figures, and it is difficult to ascertain what use they had or even whether they were intended for women or just men.
One use of masks was to perpetuate the image of the deceased. Today, we use photographs to perpetuate our image. In ancient times, memorial masks were used and they indicate a desire on the part of an individual, family, or community to preserve his image and endow him with a form of eternal life.
In ancient Egypt, the use of masks was part of the belief in an afterlife and the ritual of the dead. Masks were placed on the face of mummified bodies in order to preserve its appearance. Masks found in Egypt date back as early as the Fourth Dynasty and they depict both male and female images. The masks are frozen images and primarily highlight the eyes and lips and have hair affixed to the head. The quality of the mask was contingent on the deceased's status
Masks were very commonly used in religious rites in Greece, and from this practice theatrical masks evolved, starting with the feasts celebrating the god of wine, Dionysus, in which an actor played several roles by switching masks between each role. Women were active and important participants in these ecstatic religious rites and theatrical events, particularly when they went out to the forests in search of the god in the wilds of nature. As Greek theater further developed, women were barred from dressing up, and men played the roles of women.
At the same time that the formal theater was developing, a street theater was also developing where women were prohibited from wearing costumes. During the Middle Ages, the practice of using masks on theater stages disappeared, and then a form of mass celebration began with the participation of masked individuals. This practice later spread all over Europe and women took part and wore masks with male features.
Masks & the Carnival
These masks mark the beginning of the carnival whose ancient roots date as far back as ancient Egypt. These processions initially highlighted the change of seasons, until the festivities become something out of the ordinary routine, marked by chaos and upending of the usual order with poor people dressed masqueraded as rich people, rich people masqueraded as laborers, and the like. A sober outlook replaced the drunkenness that had been common, and it became a time were overturning norms was sanctioned.
At the end of the 16th century, a new kind of street theater surfaced in Italy, a kind of standup comedy known as Comedia dell'arte. This repertoire produced masked characters that have endured to this day. Women played important roles in these comedies, wearing for example, the mask of Colombina, the character of the merry servant maid.
Masks were also a common feature of Asian theater. They were already present in Japanese and Korean theater as early as the eighth century. In the 14th century, the very aristocratic Noh theater began and it permitted women to wear costumes and act. Men played female roles, as they had in Greek or Shakespearean theater.
In contrast, women were the founders of Kabuki theater, but very quickly the Shogun government barred women from performing. Kabuki actors do not wear masks. Their faces wear heavy makeup that is like a mask. A similar practice was common in the south Indian theater form known as Kathakali, where women were also barred from performing
Masquerade Ball
A masquerade ball is an event which the participants attend in costume, usually including a mask.
Such gatherings were based on increasingly elaborate allegorical pageants and triumphal processions celebrating marriages and other dynastic events of late medieval court life. Masquerade balls were extended into costumed public festivities in Italy during the 15th century Renaissance (Italian, maschera). They were generally elaborate dances held for members of the upper classes, and were particularly popular in Venice. They have been associated with the tradition of the Venetian Carnival.
They became popular throughout mainland Europe in the seventeenth and eighteenth centuries, sometimes with fatal results. Gustav III of Sweden was assassinated at a masquerade ball by disgruntled nobleman Jacob Johan Anckarstrm, an event which Eugne Scribe wrote about in his play Gustave III, and which was later made in to an opera Un Ballo in Maschera, by Giuseppe Verdi.
A famous mascarade that was long remembered as the Bal des Ardents ("Burning Men's Ball") was intended as a Bal des sauvages ("Wild Men's Ball") a costumed ball (morisco). It was in celebration of the marriage of a lady-in-waiting of Charles VI of France's queen in Paris on January 28, 1393. The King and five courtiers dressed as wildmen of the woods (woodwoses), with costumes of flax and pitch. When they came too close to a torch, the dancers caught fire. (This episode was later adapted into Edgar Allan Poe's short story "Hop Frog".) Such costumed dances were a special luxury of the ducal court of Burgundy.
John James Heidegger, a Swiss count, is credited with having introduced the Venetian fashion of a semi-public masquerade ball, to which one might subscribe, to London in the early eighteenth century, with the first being held at Haymarket Opera House. Throughout the century the dances became popular, both in England and Colonial America. Its prominence did not go unchallenged; a significant anti-masquerade movement grew alongside the balls themselves. The anti-masquerade writers (among them such notables as Henry Fielding) held that the events encouraged immorality and "foreign influence". While they were sometimes able to persuade authorities to their views, enforcement of measures designed to end masquerades was at best desultory.
Masquerade balls were sometimes set as a game among the guests. The masked guests would not know who was who right away. This would create a type of game to see if a guest can find who is who. This added a humorous effect to many masques and enabled a funner version of the older time period's balls.
Masquerade balls are still held today, though in modern times the party atmosphere is emphasized and the formal dancing usually less prominent. Less formal "costume parties" may be a descendant of this tradition.
Bondage Masks
A Bondage mask is a item of clothing worn over the face and head as part of BDSM play.
Typically made from cloth (such as Spandex or Darlex), plastic, leather or latex rubber, the bondage mask varies considerably in form and function. The simplest bondage mask may be a simple sleeping mask used in a BDSM context, but such masks range right up to the elaborate full head leather hoods or stylised gas masks specifically designed for BDSM play.
A bondage mask may be worn by either the dominant or submissive participants of BDSM emphsising either the psychological dominance of the top or the helplessness and humiliation of the bottom. The mask for a bottom often functions as a blindfold and may also incorporate a gag.
The Masquerade Motif in the Bible
The masquerade motif appears in the Bible on two different levels: an attempt to fool people and an attempt to fool God. Although the Bible was written by men, it does not indicate any differences between male and female masks, as is the case in other cultures.
Twice women are described as masquerading, as in the wife of Jerobam who masquerades before the prophet in a failed effort, because a person looks at the outward appearance and God looks at what is in the heart. When Tamar masquerades and changes her identity in order to fool Judah, she is successful.
In addition to references in Scriptural texts, the authors of the Mishnah, Tosefta, Babylonian and Jerusalem Talmuds, and the Midrashim discussed changes of clothing and facial coverings at great length. Women are a major component of these discussions as they masqueraded for different reasons relating to marital relations, an attempt to seduce a man, etc.
The Purim Masquerade
Masquerading on the festival of Purim has become a norm in the Jewish community.
The Book of Esther, which describes the origin of the festival, is written in a roundabout style that is a comedy of errors involving one masquerade after another and was therefore performed over the generations until it became one of the symbols of the festival. The Book of Esther features disguises and masquerades portrayed by changes in clothing and statuses. It has three pairs of protagonists, Vashti and Xerxes, Zeresh and Haman, and Mordecai and Esther.
A reading of the book reveals that all the characters depict men and women at the same time. Xerxes masquerades as a tough ruler but turns out to be ruled by his ministers. Haman, who seeks power and respect, is revealed in all his misery, and his disgrace is apparent to all when he is hanged in public. Mordecai sits wearing a sack and ashes outside the palace gate and is presented with royal garments and brought into the palace.
The Book of Esther is named after the heroine, who hides her identity until she puts on "the garments of royalty."
These garments actually help her to reveal the truth and drop her obedience and submission. She is transformed from a passive and sheltered girl into an active woman with a royal status. Vashti, who is depicted as a successful queen, throws a banquet for women and is assertive and experienced in the ways of the world, actually is revealed in her failure--she starts out as someone with status and is sent away with none left. Zeresh, the wife of Haman, who does not think too highly of her, turns out to be quite wise behind her mask, in comparison to Haman. who is obtuse and stupid.
The Book of Esther, whose characters are all masked, promoted the custom of wearing different facial masks.
This practice is documented in 15th-century German sources, which discuss women wearing men's clothing, drunkenness, and other issues. Today it is commonly thought that the Italian carnival influenced the custom of dressing up on Purim, as indicated by illustrated miniatures of the Book of Esther and other Jewish manuscripts, although it should be noted that in Muslim countries the practice of masquerading on Purim was unknown.
The matter of women masquerading and the prohibition against them appearing wearing masks is today a subject whose economic, social, halakhic [Jewish law], and feminist aspects are being extensively researched.
KinkyJews NYC Purim Extravaganza
KinkyJews is a next generation movement of several hundred Jewish kinksters in their 20s and 30s from around the world. We are young and take our kink and Judaism seriously. In January of this year KinkyJews began holding monthly events in New York City. For March KinkyJews is focusing on Purim and we are streching our wild celebrations over two days.
-KinkyJews
http://www.myspace.com/kinkyjews
http://www.friendster.com/profiles/kinkyjews
KINKYJEWS NYC TWO-DAY PURIM EXTRAVAGANZA
Its that time of year when you can take your favorite mask and/or costume out of the closet and see the Jews Gone Wild. If you are in NY, bring a mask and/or costume and join KinkyJews NYC.
Please RSVP in advance to the coordinator of KinkyJews at kinkyjewishguy@yahoo.com to let the group know which parts of the festivities you will be joining us for. Make sure that you buy your tickets in advance (ASAP) on your own though for the burlesque show, but still tell us if you are planning to go so we can spot you there. Relay any questions to KinkyJews at kinkyjewishguy@yahoo.com as well.
A KinkyJews Purim Main Event
DATE: Sunday March 12
TIME: 8:00 PM
Dinner at Kate's Joint
58 Avenue B
New York, New York 10009-7245
212.777.7059
Come dressed casual/normal, for Purim or for the BYTE after-party; however you'll feel most comfortable. Kate's Joint is vegetarian, but it is not Kosher certified. The food is reasonably priced.
After dinner we'll continue our Purim revelry at BYTE NYC's monthly synth sexy event!
Doors open at 9pm (we'll probably turn up between 10 and 10:30)
dark jane . dj lucien . marke . xris . clea cutthroat
@ the delancey
168 Delancey st.
NYC
Come dressed in fetish, goth, sexy, (or Purim)
http://groups.myspace.com/BYTE
I'm told that the entry price is about $10 or less depending on whether you come in costume
THE PARTY CONTINUES ON MONDAY!!!
Didn't get enough on Sunday? Couldn't make it to the big event? Don't have plans yet for Purim? JOIN KINKYJEWS FOR A NIGHT OF NC-17 PURIM BURLESQUE.
*KOSHER CHIXXX PURIM EDITION: THE ULTIMATE STRIP STORY*
DATE: Monday, March 13!
TIME: 9:00 PM
KinkyJews Happy Hours
Drinks 10:00 PM Show Begins
COST: Show $12
LOCATION: Mo Pitkins House of Satisfaction (34 Avenue A, between East 2nd & 3rd Streets)
BOOK TICKETS IN ADVANCED ON YOUR OWN AT: www.mopitkins.com
[If you want suggestions of fun places for megillah readings, let us know as well.]
Queen Esther's got nothin' compared to the Big Apple's juiciest Jewesses who will strut their ample tuchuses in a special Purim edition of this burlesque revue for folks who like to keep their fantasies kosher. Downtown diva Raven Snook (making her return to burlesque stage after a ten-month hiatus since having her beautiful baby) and bawdy broad Allison Tilsen preside over the festivities.
The duo of Raven and Allison had a fabulous time working together last year on the cabaret show Too Cool for Shul at BAMcafe. Now they're bringing their collaboration to Manhattan for this sexy, sultry, all-Jewish burlesque extravaganza in honor of Purim. For those of you who don't know what Purim is, it's another one of those Jewish holidays where members of the tribe celebrate the fact that we avoided extermination again. Believe it or not, it's one of our most festive holidays, a time of prizes (yup, we're giving stuff away), costumes (we do hope you come wearing one) and getting drunk (on $4 He'Brew beer specials)!
They have a gorgeous roster of gals -- the curvaceous co-founder of Red Hots Burlesque, Dottie Lux, the irreverent co-producer of Starshine Burlesque, Little Brooklyn, the sassy Darlinda Just Darlinda, the very nubile Old Ma Femme, and almost wholesome Minnie Tonka. These aren't the girls you'd bring home to mother although you'd definitely bring them home.
The entire shindig is co-presented by the 14th Street Y and BUST magazine.
The venue is fairly small so buying tickets in advance is recommended. You can do it online via Mo Pitkin's Web site.
If the KinkyJews outings on March 12th and 13th aren't enough for you or you can't make those dates, why not check out this wild event the next night. Some of us will be there as well.
THE KOSHER COCK SHOW
March 14th @ 10pm
Mo Pitkin's
34 Avenue A b/w 2nd & 3rd Sts.
212-777-5660
$10
The KOSHER COCK SHOW is a sausage party of Bar-Mitzvah boys gone bad, breaking up any stereotypes you had about the Chosen ones. Why control the banks and the media, when you can be like these guys - broke and in bed til' noon. See your favorite downtown j-boys in a comedy and music extravaganza
guaranteed to thrill everyone but their mothers.
The KOSHER COCK SHOW features a gefilte fish of greatness; Comedians Todd Levin (Comedy Central & Aspen Comedy Festival), and Seth Herzog (VH1, Stella, The Baxter), introducing insane singer/songwriter Joel Moss, sideshow extraordinaire Adam Rinn and hosted by Nightlife's Favorite Rodent, Scotty the Blue Bunny.
This Purim, The Borscht Belt is turning blue with whole megillah of
would-be mensches who pull out the punchlines, sing filthy songs, wear bunny suits and swallow ... swords, that is. This is a very special and unique show, you don't have to be Jewish to enjoy "those crazy yids" work it.
Leave yo' bubbe at home and come crow with THE KOSHER COCK SHOW.
http://www.mopitkins.com/MoPitkins_NEW/calendar/ShowPages/KosherCock1.html
If you plan to go, let us know.
http://www.myspace.com/kinkyjews
http://www.friendster.com/profiles/kinkyjews
[adapted from an article by Dr. Pnina Galpaz Feller http://www.myjewishlearning.com/holidays/Purim/TO_Purim_Themes/Masks.htm and entries from http://www.wikipedia.org/]
Masks have a long history in the world's culture, and they play an important role in the Purim story.
Masks are a kind of veil that covers the face and hide one's identity while at the same time highlighting one's character. The Italian word maschera, the English word mask and the French word masque are all derived from the word moska that originated in Lombardy and meant dead person, because in many cultures masks were associated with the world of the dead.
The earliest depiction of a mask was found in a cave painting in the Arige region of France. The drawing apparently shows a shaman wrapped in animal skins and wearing a horned mask. The wearer of the mask is a male shaman, a priest who mediated between the world of man and the world of the spirits.
The mask in the image of an animal seems to indicate that people then believed that animals have magical powers and they somehow roll over into masks that depict them. The mask wearer believed that the animal's magical powers passed over to him. Animal masks date back to very ancient times. In those days people believed that masks could be used to communicate with the supernatural.
Masks & Magic
Masks were often worn during magical ritual ceremonies in the ancient world and are still commonly used in Papua New Guinea and among African tribes. The source of this practice is the custom of trying to mislead evil spirits and demons. The masks were intended to instill fear and were a means of frightening these spirits. African, pre-Colombian, Celtic, and other peoples are known to have used such masks, which were the domain of men and later evolved into war masks worn in battle against various tribes and other groups in addition to some other uses among them, fighting impurity and illness, promoting fertility, and assisting hunters.
During fertility rites, women were actively involved playing roles that symbolized birth, growth, and the like. Other very ancient masks--some as old as 9,000 years--made of limestone with two eyeholes and a mouth filled with teeth have been discovered in Israel. These Neolithic masks do not depict specific human figures, and it is difficult to ascertain what use they had or even whether they were intended for women or just men.
One use of masks was to perpetuate the image of the deceased. Today, we use photographs to perpetuate our image. In ancient times, memorial masks were used and they indicate a desire on the part of an individual, family, or community to preserve his image and endow him with a form of eternal life.
In ancient Egypt, the use of masks was part of the belief in an afterlife and the ritual of the dead. Masks were placed on the face of mummified bodies in order to preserve its appearance. Masks found in Egypt date back as early as the Fourth Dynasty and they depict both male and female images. The masks are frozen images and primarily highlight the eyes and lips and have hair affixed to the head. The quality of the mask was contingent on the deceased's status
Masks were very commonly used in religious rites in Greece, and from this practice theatrical masks evolved, starting with the feasts celebrating the god of wine, Dionysus, in which an actor played several roles by switching masks between each role. Women were active and important participants in these ecstatic religious rites and theatrical events, particularly when they went out to the forests in search of the god in the wilds of nature. As Greek theater further developed, women were barred from dressing up, and men played the roles of women.
At the same time that the formal theater was developing, a street theater was also developing where women were prohibited from wearing costumes. During the Middle Ages, the practice of using masks on theater stages disappeared, and then a form of mass celebration began with the participation of masked individuals. This practice later spread all over Europe and women took part and wore masks with male features.
Masks & the Carnival
These masks mark the beginning of the carnival whose ancient roots date as far back as ancient Egypt. These processions initially highlighted the change of seasons, until the festivities become something out of the ordinary routine, marked by chaos and upending of the usual order with poor people dressed masqueraded as rich people, rich people masqueraded as laborers, and the like. A sober outlook replaced the drunkenness that had been common, and it became a time were overturning norms was sanctioned.
At the end of the 16th century, a new kind of street theater surfaced in Italy, a kind of standup comedy known as Comedia dell'arte. This repertoire produced masked characters that have endured to this day. Women played important roles in these comedies, wearing for example, the mask of Colombina, the character of the merry servant maid.
Masks were also a common feature of Asian theater. They were already present in Japanese and Korean theater as early as the eighth century. In the 14th century, the very aristocratic Noh theater began and it permitted women to wear costumes and act. Men played female roles, as they had in Greek or Shakespearean theater.
In contrast, women were the founders of Kabuki theater, but very quickly the Shogun government barred women from performing. Kabuki actors do not wear masks. Their faces wear heavy makeup that is like a mask. A similar practice was common in the south Indian theater form known as Kathakali, where women were also barred from performing
Masquerade Ball
A masquerade ball is an event which the participants attend in costume, usually including a mask.
Such gatherings were based on increasingly elaborate allegorical pageants and triumphal processions celebrating marriages and other dynastic events of late medieval court life. Masquerade balls were extended into costumed public festivities in Italy during the 15th century Renaissance (Italian, maschera). They were generally elaborate dances held for members of the upper classes, and were particularly popular in Venice. They have been associated with the tradition of the Venetian Carnival.
They became popular throughout mainland Europe in the seventeenth and eighteenth centuries, sometimes with fatal results. Gustav III of Sweden was assassinated at a masquerade ball by disgruntled nobleman Jacob Johan Anckarstrm, an event which Eugne Scribe wrote about in his play Gustave III, and which was later made in to an opera Un Ballo in Maschera, by Giuseppe Verdi.
A famous mascarade that was long remembered as the Bal des Ardents ("Burning Men's Ball") was intended as a Bal des sauvages ("Wild Men's Ball") a costumed ball (morisco). It was in celebration of the marriage of a lady-in-waiting of Charles VI of France's queen in Paris on January 28, 1393. The King and five courtiers dressed as wildmen of the woods (woodwoses), with costumes of flax and pitch. When they came too close to a torch, the dancers caught fire. (This episode was later adapted into Edgar Allan Poe's short story "Hop Frog".) Such costumed dances were a special luxury of the ducal court of Burgundy.
John James Heidegger, a Swiss count, is credited with having introduced the Venetian fashion of a semi-public masquerade ball, to which one might subscribe, to London in the early eighteenth century, with the first being held at Haymarket Opera House. Throughout the century the dances became popular, both in England and Colonial America. Its prominence did not go unchallenged; a significant anti-masquerade movement grew alongside the balls themselves. The anti-masquerade writers (among them such notables as Henry Fielding) held that the events encouraged immorality and "foreign influence". While they were sometimes able to persuade authorities to their views, enforcement of measures designed to end masquerades was at best desultory.
Masquerade balls were sometimes set as a game among the guests. The masked guests would not know who was who right away. This would create a type of game to see if a guest can find who is who. This added a humorous effect to many masques and enabled a funner version of the older time period's balls.
Masquerade balls are still held today, though in modern times the party atmosphere is emphasized and the formal dancing usually less prominent. Less formal "costume parties" may be a descendant of this tradition.
Bondage Masks
A Bondage mask is a item of clothing worn over the face and head as part of BDSM play.
Typically made from cloth (such as Spandex or Darlex), plastic, leather or latex rubber, the bondage mask varies considerably in form and function. The simplest bondage mask may be a simple sleeping mask used in a BDSM context, but such masks range right up to the elaborate full head leather hoods or stylised gas masks specifically designed for BDSM play.
A bondage mask may be worn by either the dominant or submissive participants of BDSM emphsising either the psychological dominance of the top or the helplessness and humiliation of the bottom. The mask for a bottom often functions as a blindfold and may also incorporate a gag.
The Masquerade Motif in the Bible
The masquerade motif appears in the Bible on two different levels: an attempt to fool people and an attempt to fool God. Although the Bible was written by men, it does not indicate any differences between male and female masks, as is the case in other cultures.
Twice women are described as masquerading, as in the wife of Jerobam who masquerades before the prophet in a failed effort, because a person looks at the outward appearance and God looks at what is in the heart. When Tamar masquerades and changes her identity in order to fool Judah, she is successful.
In addition to references in Scriptural texts, the authors of the Mishnah, Tosefta, Babylonian and Jerusalem Talmuds, and the Midrashim discussed changes of clothing and facial coverings at great length. Women are a major component of these discussions as they masqueraded for different reasons relating to marital relations, an attempt to seduce a man, etc.
The Purim Masquerade
Masquerading on the festival of Purim has become a norm in the Jewish community.
The Book of Esther, which describes the origin of the festival, is written in a roundabout style that is a comedy of errors involving one masquerade after another and was therefore performed over the generations until it became one of the symbols of the festival. The Book of Esther features disguises and masquerades portrayed by changes in clothing and statuses. It has three pairs of protagonists, Vashti and Xerxes, Zeresh and Haman, and Mordecai and Esther.
A reading of the book reveals that all the characters depict men and women at the same time. Xerxes masquerades as a tough ruler but turns out to be ruled by his ministers. Haman, who seeks power and respect, is revealed in all his misery, and his disgrace is apparent to all when he is hanged in public. Mordecai sits wearing a sack and ashes outside the palace gate and is presented with royal garments and brought into the palace.
The Book of Esther is named after the heroine, who hides her identity until she puts on "the garments of royalty."
These garments actually help her to reveal the truth and drop her obedience and submission. She is transformed from a passive and sheltered girl into an active woman with a royal status. Vashti, who is depicted as a successful queen, throws a banquet for women and is assertive and experienced in the ways of the world, actually is revealed in her failure--she starts out as someone with status and is sent away with none left. Zeresh, the wife of Haman, who does not think too highly of her, turns out to be quite wise behind her mask, in comparison to Haman. who is obtuse and stupid.
The Book of Esther, whose characters are all masked, promoted the custom of wearing different facial masks.
This practice is documented in 15th-century German sources, which discuss women wearing men's clothing, drunkenness, and other issues. Today it is commonly thought that the Italian carnival influenced the custom of dressing up on Purim, as indicated by illustrated miniatures of the Book of Esther and other Jewish manuscripts, although it should be noted that in Muslim countries the practice of masquerading on Purim was unknown.
The matter of women masquerading and the prohibition against them appearing wearing masks is today a subject whose economic, social, halakhic [Jewish law], and feminist aspects are being extensively researched.
KinkyJews NYC Purim Extravaganza
KinkyJews is a next generation movement of several hundred Jewish kinksters in their 20s and 30s from around the world. We are young and take our kink and Judaism seriously. In January of this year KinkyJews began holding monthly events in New York City. For March KinkyJews is focusing on Purim and we are streching our wild celebrations over two days.
-KinkyJews
http://www.myspace.com/kinkyjews
http://www.friendster.com/profiles/kinkyjews
KINKYJEWS NYC TWO-DAY PURIM EXTRAVAGANZA
Its that time of year when you can take your favorite mask and/or costume out of the closet and see the Jews Gone Wild. If you are in NY, bring a mask and/or costume and join KinkyJews NYC.
Please RSVP in advance to the coordinator of KinkyJews at kinkyjewishguy@yahoo.com to let the group know which parts of the festivities you will be joining us for. Make sure that you buy your tickets in advance (ASAP) on your own though for the burlesque show, but still tell us if you are planning to go so we can spot you there. Relay any questions to KinkyJews at kinkyjewishguy@yahoo.com as well.
A KinkyJews Purim Main Event
DATE: Sunday March 12
TIME: 8:00 PM
Dinner at Kate's Joint
58 Avenue B
New York, New York 10009-7245
212.777.7059
Come dressed casual/normal, for Purim or for the BYTE after-party; however you'll feel most comfortable. Kate's Joint is vegetarian, but it is not Kosher certified. The food is reasonably priced.
After dinner we'll continue our Purim revelry at BYTE NYC's monthly synth sexy event!
Doors open at 9pm (we'll probably turn up between 10 and 10:30)
dark jane . dj lucien . marke . xris . clea cutthroat
@ the delancey
168 Delancey st.
NYC
Come dressed in fetish, goth, sexy, (or Purim)
http://groups.myspace.com/BYTE
I'm told that the entry price is about $10 or less depending on whether you come in costume
THE PARTY CONTINUES ON MONDAY!!!
Didn't get enough on Sunday? Couldn't make it to the big event? Don't have plans yet for Purim? JOIN KINKYJEWS FOR A NIGHT OF NC-17 PURIM BURLESQUE.
*KOSHER CHIXXX PURIM EDITION: THE ULTIMATE STRIP STORY*
DATE: Monday, March 13!
TIME: 9:00 PM
KinkyJews Happy Hours
Drinks 10:00 PM Show Begins
COST: Show $12
LOCATION: Mo Pitkins House of Satisfaction (34 Avenue A, between East 2nd & 3rd Streets)
BOOK TICKETS IN ADVANCED ON YOUR OWN AT: www.mopitkins.com
[If you want suggestions of fun places for megillah readings, let us know as well.]
Queen Esther's got nothin' compared to the Big Apple's juiciest Jewesses who will strut their ample tuchuses in a special Purim edition of this burlesque revue for folks who like to keep their fantasies kosher. Downtown diva Raven Snook (making her return to burlesque stage after a ten-month hiatus since having her beautiful baby) and bawdy broad Allison Tilsen preside over the festivities.
The duo of Raven and Allison had a fabulous time working together last year on the cabaret show Too Cool for Shul at BAMcafe. Now they're bringing their collaboration to Manhattan for this sexy, sultry, all-Jewish burlesque extravaganza in honor of Purim. For those of you who don't know what Purim is, it's another one of those Jewish holidays where members of the tribe celebrate the fact that we avoided extermination again. Believe it or not, it's one of our most festive holidays, a time of prizes (yup, we're giving stuff away), costumes (we do hope you come wearing one) and getting drunk (on $4 He'Brew beer specials)!
They have a gorgeous roster of gals -- the curvaceous co-founder of Red Hots Burlesque, Dottie Lux, the irreverent co-producer of Starshine Burlesque, Little Brooklyn, the sassy Darlinda Just Darlinda, the very nubile Old Ma Femme, and almost wholesome Minnie Tonka. These aren't the girls you'd bring home to mother although you'd definitely bring them home.
The entire shindig is co-presented by the 14th Street Y and BUST magazine.
The venue is fairly small so buying tickets in advance is recommended. You can do it online via Mo Pitkin's Web site.
If the KinkyJews outings on March 12th and 13th aren't enough for you or you can't make those dates, why not check out this wild event the next night. Some of us will be there as well.
THE KOSHER COCK SHOW
March 14th @ 10pm
Mo Pitkin's
34 Avenue A b/w 2nd & 3rd Sts.
212-777-5660
$10
The KOSHER COCK SHOW is a sausage party of Bar-Mitzvah boys gone bad, breaking up any stereotypes you had about the Chosen ones. Why control the banks and the media, when you can be like these guys - broke and in bed til' noon. See your favorite downtown j-boys in a comedy and music extravaganza
guaranteed to thrill everyone but their mothers.
The KOSHER COCK SHOW features a gefilte fish of greatness; Comedians Todd Levin (Comedy Central & Aspen Comedy Festival), and Seth Herzog (VH1, Stella, The Baxter), introducing insane singer/songwriter Joel Moss, sideshow extraordinaire Adam Rinn and hosted by Nightlife's Favorite Rodent, Scotty the Blue Bunny.
This Purim, The Borscht Belt is turning blue with whole megillah of
would-be mensches who pull out the punchlines, sing filthy songs, wear bunny suits and swallow ... swords, that is. This is a very special and unique show, you don't have to be Jewish to enjoy "those crazy yids" work it.
Leave yo' bubbe at home and come crow with THE KOSHER COCK SHOW.
http://www.mopitkins.com/MoPitkins_NEW/calendar/ShowPages/KosherCock1.html
If you plan to go, let us know.
http://www.myspace.com/kinkyjews
http://www.friendster.com/profiles/kinkyjews
thanks for the add. you seem interesting. i like kink and i like jews, so let's be friends.