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| The Human Zoo of Sexuality: Zumanity by: Herndon Davis |
Despite the provincial, conservative and sometimes oppressing American viewpoints on
sex and sexuality, society is now becoming increasingly more aware that sexuality itself is
a fluid, dynamic, and evolving state of being versus a static, labeled, and rigidly solid
construction of categorization. What was once thought to be a sexual taboo a generation
ago is now a commonly accepted sexual thought. However, this evolving change did not
occur because of a declining moral society but instead it has been ignited by a more
mature, studied, researched and dialogued society.
Hence, this is the premise of Zumanity, a Cirque du Soleil production created three years
ago that’s still playing at the New York-New York Hotel and Casino in Las Vegas. From
corny penis-banana jokes to an erotic lesbian swim sequence, to an intense African
Seductress dance, to a Cuban male stripper; this unique production brings conservative
middle-Americans far closer to embracing their hidden inhibitions and curiosities about
sexuality than ever before.
I recently had the opportunity of traveling to Las Vegas, “The City of Lights”, to sneak-a-
peek at the show and to also interview some of its key players.
sex and sexuality, society is now becoming increasingly more aware that sexuality itself is
a fluid, dynamic, and evolving state of being versus a static, labeled, and rigidly solid
construction of categorization. What was once thought to be a sexual taboo a generation
ago is now a commonly accepted sexual thought. However, this evolving change did not
occur because of a declining moral society but instead it has been ignited by a more
mature, studied, researched and dialogued society.
Hence, this is the premise of Zumanity, a Cirque du Soleil production created three years
ago that’s still playing at the New York-New York Hotel and Casino in Las Vegas. From
corny penis-banana jokes to an erotic lesbian swim sequence, to an intense African
Seductress dance, to a Cuban male stripper; this unique production brings conservative
middle-Americans far closer to embracing their hidden inhibitions and curiosities about
sexuality than ever before.
I recently had the opportunity of traveling to Las Vegas, “The City of Lights”, to sneak-a-
peek at the show and to also interview some of its key players.
| Wassa and Her Many Talents |
| Understanding Zumanity |
Zumanity is the creation of Cirque du Soliel, a Montreal, Canada based entertainment
company. Cirque is known world wide for its artistic fusion of group acrobatics,
vibrantly eclectic music performed live, international casts with blended performance
styles, and brilliantly colorful costumes combined with storylines of imagination and myth.
To date, all of Cirque shows have been family and kid-friendly with the exception of
Zumanity, a bold 2003 departure from its sibling shows. The show’s title is actually a
play on the words “zoo” and “humanity” which gives us the “human zoo,” as it
showcases the various aspects of sexuality and the gender-bender roles that exist within it.
Often described as an “adult version” of Cirque, Zumanity focuses upon sexuality,
sensuality, and love. This is accomplished through mostly solo and duo acts versus group
acrobatics as in other Cirque shows. In addition there is a focused attention on the
sensual nature of each character and their innate talent versus a storyline with a definitive
beginning, middle, and end.
Each act tells a totally different story of sexuality, all of which are loosely connected
together primarily by the color red which represents passion, life, vitality, and eroticism.
From the red rose petals that gently fall across the 1,259 seat curved theater, to the
padded red crushed velvet walls and carpet, to the ruby red strawberries served during
the warm up, the color red serves as a symbol for the entire evening to come.
Much of this is due to Zumanity’s artistic director, Ria Martens, who’s had over twenty
years experience in dance. The Belgian performer has traveled the world and has a taught
many young talented men and women to realize their individual artistic potential.
For the past two years, she’s been the artistic director of Zumanity which she personally
describes as “provocative and sensual.” She explains that her responsibility as artistic
director is “To bring it [Zumanity] more clear to the show, the different characters
because they’re so different and so stunning. To make it flow and to make it make
sense.” She adds that “I can bring the best of that being on stage. I have a pretty good
eye and pretty good feeling on what the person needs in order to bring their ultimate
talent to the stage.”
Another unique fact about the show is that each performer’s costume was created based
upon the individual person and their actual life versus forcing them into a specific role
and costume that did not reflect their personhood.
company. Cirque is known world wide for its artistic fusion of group acrobatics,
vibrantly eclectic music performed live, international casts with blended performance
styles, and brilliantly colorful costumes combined with storylines of imagination and myth.
To date, all of Cirque shows have been family and kid-friendly with the exception of
Zumanity, a bold 2003 departure from its sibling shows. The show’s title is actually a
play on the words “zoo” and “humanity” which gives us the “human zoo,” as it
showcases the various aspects of sexuality and the gender-bender roles that exist within it.
Often described as an “adult version” of Cirque, Zumanity focuses upon sexuality,
sensuality, and love. This is accomplished through mostly solo and duo acts versus group
acrobatics as in other Cirque shows. In addition there is a focused attention on the
sensual nature of each character and their innate talent versus a storyline with a definitive
beginning, middle, and end.
Each act tells a totally different story of sexuality, all of which are loosely connected
together primarily by the color red which represents passion, life, vitality, and eroticism.
From the red rose petals that gently fall across the 1,259 seat curved theater, to the
padded red crushed velvet walls and carpet, to the ruby red strawberries served during
the warm up, the color red serves as a symbol for the entire evening to come.
Much of this is due to Zumanity’s artistic director, Ria Martens, who’s had over twenty
years experience in dance. The Belgian performer has traveled the world and has a taught
many young talented men and women to realize their individual artistic potential.
For the past two years, she’s been the artistic director of Zumanity which she personally
describes as “provocative and sensual.” She explains that her responsibility as artistic
director is “To bring it [Zumanity] more clear to the show, the different characters
because they’re so different and so stunning. To make it flow and to make it make
sense.” She adds that “I can bring the best of that being on stage. I have a pretty good
eye and pretty good feeling on what the person needs in order to bring their ultimate
talent to the stage.”
Another unique fact about the show is that each performer’s costume was created based
upon the individual person and their actual life versus forcing them into a specific role
and costume that did not reflect their personhood.
| But Does Zumanity Work? |
Although anyone over the age of 18 is welcome to attend the Zumanity production, it
appears that most of its audience base is supported by nervous-to-giddy heterosexuals
looking to experience life on the wild side through the lens of a 90 minute display of
individual acrobatics, naughty humor and brief glimpses of nudity.
For Mr. and Mrs. America, the show will open their eyes to sexuality in its many forms.
In fact it may even spark an extra boost of energy in their bedrooms for weeks to come.
Still, others might be offended by the show.
But for more sophisticated audiences, laughter would be the immediate response to the
sexual tameness of the show, while gay audiences would balk at the paucity of gay
representation and imagery.
What was most noticeably disturbing was a jail house fight scene between two men that
somehow magically developed into a tender, same-gender-loving, happy ending with a
bittersweet man-to-man kiss.
This scene makes it blatantly obvious that the only way middle-America is able to accept
two men romantically loving each other is to first see them in tension, turmoil, and
violence followed up with a distant display of love.
Bisexuals are also left out of the Zumanity equation as well but that’s probably for the
best. It would be a shame to see a stereotypically confused man struggling in angst over
his “love” towards a woman versus his illicit “sex” activity with a man which is often
how bisexuals are wrongly portrayed.
Yet despite these major glaring stumbling blocks which must be overcome, Zumanity
itself is an enjoyable creation and well worth the 90 minute countdown to the finale. It is
filled with “eye candy”, strong lyrics, mixed with humor as it slowly pushes the
emotional envelope for the intimately uninitiated and the sexually inhibited.
But for the more erotically and emotionally advanced, it is only the salad before the main
course. Something to remind you of just how innocently curious you once were. Finally,
major kudos must be given to Raven O, the tattooed, muscled, and quick-tongued
androgynous host who belted out the most memorable lyrics of the evening. His presence
truly made the difference.
Herndon L. Davis is an author, lecturer, and TV/Radio Host. He can be reached
directly at www.herndondavis.com
Copyrighted 2006
appears that most of its audience base is supported by nervous-to-giddy heterosexuals
looking to experience life on the wild side through the lens of a 90 minute display of
individual acrobatics, naughty humor and brief glimpses of nudity.
For Mr. and Mrs. America, the show will open their eyes to sexuality in its many forms.
In fact it may even spark an extra boost of energy in their bedrooms for weeks to come.
Still, others might be offended by the show.
But for more sophisticated audiences, laughter would be the immediate response to the
sexual tameness of the show, while gay audiences would balk at the paucity of gay
representation and imagery.
What was most noticeably disturbing was a jail house fight scene between two men that
somehow magically developed into a tender, same-gender-loving, happy ending with a
bittersweet man-to-man kiss.
This scene makes it blatantly obvious that the only way middle-America is able to accept
two men romantically loving each other is to first see them in tension, turmoil, and
violence followed up with a distant display of love.
Bisexuals are also left out of the Zumanity equation as well but that’s probably for the
best. It would be a shame to see a stereotypically confused man struggling in angst over
his “love” towards a woman versus his illicit “sex” activity with a man which is often
how bisexuals are wrongly portrayed.
Yet despite these major glaring stumbling blocks which must be overcome, Zumanity
itself is an enjoyable creation and well worth the 90 minute countdown to the finale. It is
filled with “eye candy”, strong lyrics, mixed with humor as it slowly pushes the
emotional envelope for the intimately uninitiated and the sexually inhibited.
But for the more erotically and emotionally advanced, it is only the salad before the main
course. Something to remind you of just how innocently curious you once were. Finally,
major kudos must be given to Raven O, the tattooed, muscled, and quick-tongued
androgynous host who belted out the most memorable lyrics of the evening. His presence
truly made the difference.
Herndon L. Davis is an author, lecturer, and TV/Radio Host. He can be reached
directly at www.herndondavis.com
Copyrighted 2006
She’s exotically gorgeous, turning the heads of
those who stand in her presence. She has the
ability to dance through air, sing like a bird not to
mention act, model and even design her own
clothing line. Her name is Wassa Coulibaly, the
African Seductress who welcomes audiences in her
self-titled Zumanity act, “Wassa.”
All eyes gaze over her petite body as unbridled
passion drives its way through her arms, legs, and
torso to an intoxicating and erotic tribal rhythmic
beat. Wassa’s performance instantly transports
those around her back to the mother continent and
to a higher plane of eroticism and passion.
Her presence can also be seen throughout the
remaining 90-minute production as she contributes
various forms of African dance to the overall
sensual production. Her teased reddish-orange hair
floats majestically over her greenish-orange
costume which she personally designed.
Born and raised in the African country of Senegal,
Wassa speaks four languages English, French,
Bambara (a dialect of West Africa) and Wolof (the
indigenous language of Senegal). She moved to
Hawaii and later to Los Angeles where she crafted
her dance, acting and modeling skills before
advancing to Las Vegas where she remains an
integral part of Cirque du Soliel’s Zumanity.
She recalls that after her initial 8 hour audition for
the show, she left with “Tears of joy of just wow.
I really expressed myself in all of the years of study
in LA.” She was later invited back to Las Vegas
for a two week audition where she would be
intensely scrutinized along with other potential cast
mates.
She explained that the creators wanted “to know
how well you work with other people; just to get to
know more of your personality. They really, really
wanted to know me.” And get to know her they
did. A week later she received an offer to join
Zumanity and the contract was in the mail.
Amazingly after three years of performing in
Zumanity her act remains untouched even the show
itself has undergone major changes through the
course of time. Wassa’s African background is
primarily the reason why her act continues to be
one of the most favorite and least tinkered with.
“Senegalese dance is very dynamic and can be very
sexual and with Zumanity being a very sexual show
it came in very handy” Wassa explained. “I always
remember being very sexual in how I dressed and
my nature. Of course the only thing was, oh what
about my parents, but what about my culture, yet
still that didn’t really stop me because a dream is a
dream and when you give a person an opportunity,
you have to take it.”
When she isn’t performing in Zumanity, Wassa has
her eye on fashion. She’s created her own clothing
line, Wassawear. “I love making clothes. Since
joining Zumanity more of that has been coming
alive. I create very exotic stuff, very feminine. I’m
working a lot with silk, just beautiful shapes of
dresses. A lot of it is inspired from Senegal, my
background, being in Zumanity, and my personal
stuff that I just like to wear.”
those who stand in her presence. She has the
ability to dance through air, sing like a bird not to
mention act, model and even design her own
clothing line. Her name is Wassa Coulibaly, the
African Seductress who welcomes audiences in her
self-titled Zumanity act, “Wassa.”
All eyes gaze over her petite body as unbridled
passion drives its way through her arms, legs, and
torso to an intoxicating and erotic tribal rhythmic
beat. Wassa’s performance instantly transports
those around her back to the mother continent and
to a higher plane of eroticism and passion.
Her presence can also be seen throughout the
remaining 90-minute production as she contributes
various forms of African dance to the overall
sensual production. Her teased reddish-orange hair
floats majestically over her greenish-orange
costume which she personally designed.
Born and raised in the African country of Senegal,
Wassa speaks four languages English, French,
Bambara (a dialect of West Africa) and Wolof (the
indigenous language of Senegal). She moved to
Hawaii and later to Los Angeles where she crafted
her dance, acting and modeling skills before
advancing to Las Vegas where she remains an
integral part of Cirque du Soliel’s Zumanity.
She recalls that after her initial 8 hour audition for
the show, she left with “Tears of joy of just wow.
I really expressed myself in all of the years of study
in LA.” She was later invited back to Las Vegas
for a two week audition where she would be
intensely scrutinized along with other potential cast
mates.
She explained that the creators wanted “to know
how well you work with other people; just to get to
know more of your personality. They really, really
wanted to know me.” And get to know her they
did. A week later she received an offer to join
Zumanity and the contract was in the mail.
Amazingly after three years of performing in
Zumanity her act remains untouched even the show
itself has undergone major changes through the
course of time. Wassa’s African background is
primarily the reason why her act continues to be
one of the most favorite and least tinkered with.
“Senegalese dance is very dynamic and can be very
sexual and with Zumanity being a very sexual show
it came in very handy” Wassa explained. “I always
remember being very sexual in how I dressed and
my nature. Of course the only thing was, oh what
about my parents, but what about my culture, yet
still that didn’t really stop me because a dream is a
dream and when you give a person an opportunity,
you have to take it.”
When she isn’t performing in Zumanity, Wassa has
her eye on fashion. She’s created her own clothing
line, Wassawear. “I love making clothes. Since
joining Zumanity more of that has been coming
alive. I create very exotic stuff, very feminine. I’m
working a lot with silk, just beautiful shapes of
dresses. A lot of it is inspired from Senegal, my
background, being in Zumanity, and my personal
stuff that I just like to wear.”
| Wassa’s Schedule: |
Morning/Afternoon:
Wake up
Sing, surf the internet, sew her new clothing
creations
Evening:
Report to work. Do Pilates, stretch, etc.
Makeup
More stretching
Perform two shows
Early Morning:
Cook, hangout with friends and sleep.
She performs 10 times a week, 5 days a week.
Monday-Tuesday off. Every two months, the
cast receives three days off. In the month of
December the cast receives two weeks
vacation. And every three months, the cast
receives 1 week off.
Wake up
Sing, surf the internet, sew her new clothing
creations
Evening:
Report to work. Do Pilates, stretch, etc.
Makeup
More stretching
Perform two shows
Early Morning:
Cook, hangout with friends and sleep.
She performs 10 times a week, 5 days a week.
Monday-Tuesday off. Every two months, the
cast receives three days off. In the month of
December the cast receives two weeks
vacation. And every three months, the cast
receives 1 week off.
To date, Wassa has made her mark in dancing
but has also acted, modeled, continues to sing
all while growing her own clothing line. She
believes that her future will one day merge all
of her talents into one cohesive force.
It would be “A collaboration of all my talents
put together, to do more of what I’m doing
and having more of a voice of expression to
say more things. To keep growing…my own
show or television, I’m not sure.” But one
thing she’s quick to point out is that her talents
are not in competition with each other.
“Dancing for me is just like expression a
release for me. If I couldn’t dance I don’t
know what I would do. Singing I find that I
have to go inside. It’s the inner voice and
emotion that comes out. Sewing and fashion
has been a way of more expressing myself and
all of the drama that I feel…I wear it. And
people are interested in it.
Modeling I love being in front of the camera.
I love doing print photos. I really don’t see so
much of a contrast. I’m finding that more and
more one [talent] complements the other.
What I learn in singing I can use in dance,
such as all that feeling and inner work. The
same with modeling just being true to myself
and the fashion also is really who I am. And it’
s all making me dig deep and it’s all going in
the same direction I believe.”
And for those wanting to know Wassa’s secret
to creative success, it’s fairly simple. “You
have to do your art and you have to do it
every single day. You have to do it with
sincerity and you do it with joy and everything
falls into place. Never mind all the other
stuff. You do it with sincerity and with love. I
enjoy doing what I’m doing”
Wassa can be contacted through her website at
www.wassawear.com
Herndon L. Davis is an author, lecturer, and
TV/Radio Host. He can be reached directly
at www.herndondavis.com
but has also acted, modeled, continues to sing
all while growing her own clothing line. She
believes that her future will one day merge all
of her talents into one cohesive force.
It would be “A collaboration of all my talents
put together, to do more of what I’m doing
and having more of a voice of expression to
say more things. To keep growing…my own
show or television, I’m not sure.” But one
thing she’s quick to point out is that her talents
are not in competition with each other.
“Dancing for me is just like expression a
release for me. If I couldn’t dance I don’t
know what I would do. Singing I find that I
have to go inside. It’s the inner voice and
emotion that comes out. Sewing and fashion
has been a way of more expressing myself and
all of the drama that I feel…I wear it. And
people are interested in it.
Modeling I love being in front of the camera.
I love doing print photos. I really don’t see so
much of a contrast. I’m finding that more and
more one [talent] complements the other.
What I learn in singing I can use in dance,
such as all that feeling and inner work. The
same with modeling just being true to myself
and the fashion also is really who I am. And it’
s all making me dig deep and it’s all going in
the same direction I believe.”
And for those wanting to know Wassa’s secret
to creative success, it’s fairly simple. “You
have to do your art and you have to do it
every single day. You have to do it with
sincerity and you do it with joy and everything
falls into place. Never mind all the other
stuff. You do it with sincerity and with love. I
enjoy doing what I’m doing”
Wassa can be contacted through her website at
www.wassawear.com
Herndon L. Davis is an author, lecturer, and
TV/Radio Host. He can be reached directly
at www.herndondavis.com
| Wassa's Future |
