conceived by Annie Sprinkle with Beth Stephens Dedicated to Timi Stüttgen, Post Porn Politics Whore.
Ritual for the Whores
|camera:||Claudia Richarz, Maria Hemmleb, Hermine Huntgeburth, Carol Leigh|
|Editing:||Zayne Armstrong, Jeff Coons|
|Documentary by:||Ulrike Zimmermann, Claudia Richarz|
|Production:||MMM Film (www.lauramedia.de)|
With Daniel Cremer, Margarita Tsomou, Marissa Lobo, Verena Reygers,
Maria F Dolores, Liad Land, Carol Leigh AKA Scarlot Harlot, Kristina Marlen,
Undine de Rivière Kay Garnellen, Sadie Lune, Dana von Schwedendorf,
Harvey Rabbit, Annie Sprinkle,
Cinematography: Claudia Richarz, Maria Hemmleb, Hermine Huntgeburth, Carol Leigh
„An honest, sexually experienced woman (or a group of such women) is a strong and divine force that not only inspires other women, but has the power to make life on earth better once and for all. S ladies: let’s do it! “
Dr. Annie Sprinkle
„Because our sexuality … is much more: a path to personal growth, to physical and mental healing, to self-fulfillment and to spiritual development.“
Dr. Annie Sprinkle
In Ritual for the Whores we sit in the audience and get up close and personal with the preparations for a group performance led by Annie Sprinkle, the “Ritual for Whores”. There are 15 of them, and each of them will later explain and perform their title on stage. Kay Garnellen, actor and transgender sex worker as “Outsider Whore”, curator Margarita Tsomou as “Climbing Whore”, who climbs a ladder and leans on it, the performance artist Liad Hussein Kantorowicz as “Mourning Whore” and of course Sprinkle herself as “Ecosexual Whore Madam” that will perform with a mountain of earth. In addition, Sadie Lune, Daniel Cremer, Undine de Rivière, Kristina Marlen and others. At the end of the orgiastic activity, Taboran Waxman sings a song, but what is particularly exciting about the third film by Ulrike Zimmermann and Claudia Richarz is what happens before that: the unscripted performances in front of the camera, so to speak.
There is this wonderful scene at the beginning when Annie Sprinkle walks with her trolley case across the summer grounds of Kampnagel to the rehearsals and Margarita Tsomou starts a discussion about the term “sex worker”. Sprinkle wants to know whether she would also use this term for herself. Tsomou struggles because she does not want to adopt the term, but Sprinkle advocates not only restricting it to the field of prostitution, but also widening it, and allowing many areas of erotic and sexual work under the guise of “sex work” subsume: “We need some hardcore movement for this war on whore”. The more sex workers there are, the greater the movement. The first whores are already waiting in the rehearsal room. Sprinkle, the loving mother of the young whores, welcomes her and once again radiates her joy and pride. Preparations can begin.
Then another wonderful scene later, when a photographer, with the gesture and language of a high-end fashion photographer, gave instructions to Annie Sprinkle, the woman who had been self-directed for decades, and told her how to look. Zimmermann and Richarz accompany Sprinkle here in the style of Direct Cinema, i.e. as quasi invisible observers, capturing very intimate and often funny moments that precede the great performance, far away from the stage sets.
Then sprinkle again in front of an audience: “We have some incredible whores here who will try to create some whore magic for us tonight”. Enthusiastic calls and rustling applause follow. The camera is more agile this time, takes us into the circle of whores who start their ritual holding hands, and watches the performers curiously as they go. The statements are directed against colonization, discrimination, illegalization and violence against sex workers. The field is as far as the performances are different: there is dancing, rubbing oil, meditating, masturbating and fisting. In the end a bow, a collective circle behind the scenes. The ritual, recorded in the film as an encounter and event forever, has ended, but: a whore’s work is never done. The struggles and rituals must continue, as must Annie Sprinkle’s activism and metamorphoses.