‘Are there grrrls in the majority world?’ I wondered. The answer is yes, and they rock. In fact I’ve made a Majority World Riot Grrrl playlist which can be found for your delectation. Big shout out to Riot Grrrl Berlin and their fantastic compilations, on which lots of these bands feature.

Nepal

The first band I found was an anarchafeminist outfit from Nepal called Tank Girl. Nepal has a deeply traditional patriarchal society; marital rape was outlawed only in 2006 and still carries just a six month sentence. Rape survivors are often ostracised, having ‘brought shame’ to their family and wider community. Dalit (or ‘low-caste’) women face additional discrimination and extremely high levels of violence.

One of Tank Girl’s members, Sareena Rai, is involved in two other feminist DIY punk bands, Rai Ko Ris and Naya Faya, and works to help Dalit women to protect themselves from gender-based violence, delivering self-defence training in her house. Which is pretty awesome.

Philippines, Indonesia, Malaysia

I found a few more Asia-Pacific riot grrrl bands, including the adorable Fatal Posporos from the Philippines and Pretty Riot from Indonesia. As well as bands Hellsister and Dance On Your Grave, the scene in Malaysia was (and hopefully still is) large enough to support a zine distro called Grrrl:Rebel. “Through zines, people in the scene are much more exposed to stuffs that were somewhat limited to them and the public before” founder Carol told GrrrlZines.net in 2001. “In countries like Malaysia and Singapore, you would get arrested if you write any articles that can be considered as threats to the government.”

It’s comments like that which I find so remarkable, dropped into interviews about the role of girls in the punk scene and the best local bands which could kind of be about anywhere.

Africa and the Middle East

While I couldn’t find any trace of a riot grrrl scene in Africa, I did happen upon a 2011 documentary called Punk In Africa which sounds good. And in the Middle East, grrrls are thin on the ground, but judging from the cracking MidEastTunes website there are plenty of women active in dark metal and goth, including Bahrain’s first all-girl metal band Scarlet Tear.

Mexico, Venezuela and Brazil

South America does seem to have a sizeable riot grrrl base – my cursory search turned up bands in Mexico, Venezuela, Chile, Colombia and Argentina. Le Butcherettes from Mexico are definitely worth a listen, and I’d like to find more by a Venezuelan skapunk outfit called 7 Potencias who have a song called ‘Feminista de Bolsillo’, which I’m led to believe translates as ‘Pocket Feminist’.

The biggest scene seems to be in Brazil, which boasts a huge list of bands and artists, including Dominatrix, Siete Armas and Bertha Lutz, with her irresistibly-titled track ‘Feminism? Yes Please!’.

Bit of context: while Brazil is the world’s sixth largest economy, there is still vast inequality. And although it currently has a female President for the first time in Dilma Rouseff, women make up just 8.6% of the seats in Parliament. Abortion is legal only to save a woman’s life or in cases of rape, and in 2010, it was reported that 200,000 women a year are hospitalized for complications of illegal abortion.

The reasons behind riot grrrl’s popularity in Brazil are even the subject of an academic paper by Calla Hummel, who recognises the political significance and adaptability of this particular bit of shouty youth culture:

Brazilian riot grrrl is one of the sites where Western cultural hegemony is being called into question… As it moves across borders, riot grrrl becomes a form of transnational feminism – and grrrls must address how ideas and material originating in a given locale may resonate, change, or delegitimize ideas and work in another.

Gender inequality is a global problem which varies in its expression across different cultural contexts. It’s not an ‘over there’ issue, but in some places it’s more severe than in others. Similarly, riot grrrl anywhere is awesome, but the courage and kickassness of the grrrls in these bands is pretty inspiring.

As a band member called Isabella quoted by Hummel says:

As long as we keep getting letters from the middle of the jungle, from a tiny, three person town in the Amazon, from some girl saying, ‘Feminism saved my life, thank you,’ we will keep doing it.

• This article originally appeared in a zine put together for Sara and James‘ club night Grrrls Just Wanna Have Fun.
• Tiny Note From The Ed: Happy International Women’s Day from everybody at BadRep Towers! Please consider donating to WomanKind Worldwide today.

‘I like your shoes!’ she said. ‘They have red bits at the back!’

‘Thanks,’ I said, beating a swift retreat before she noticed that the ‘red bits’ were in fact open wounds filled with my encrusted blood, patching the backs of my ankles like some kind of visceral rash.

I should have said ‘They’re Christian Louboutin’.

Christian Louboutin's 'Ballerina' slippers, with an 8-inch heel

Vertigo

The shoe designer beloved by female celebrities everywhere (Jennifer Lopez has a whole song about them) is so proud of his trademark ‘red sole’ that he recently took erstwhile collaborator Yves Saint-Laurent to court over red sole copyright infringement. He’s also currently the subject of a career retrospective at London’s Design Museum.

He’s notorious for being one of the first designers to insist, in the early 90s, on a heel that truly towers – his shoes average at about 4 1/2 inches; the highest peak at dizzying 6 (‘but mostly only dancers can wear them‘) and if you’re looking for someone to blame when you survey the heights on the high-street and sigh, you could be more unjust than to point your finger at this foot-obsessed Frenchman.

As a teenager, Louboutin’s eye was caught by a ‘No Stilettos’ sign at the Museum of Oceanic Art, Paris: ‘I wanted to defy that,’ he said. ‘I wanted to create something that broke rules and made women feel confident and empowered.’ He’s stuck to this original image for most of his career: there are very few wedges or block heels in his collections; instead, his heels are thin, vertiginously high and splattered with those red soles.

Earthbound

Where such heights can lead is well illustrated by the fate that meets Little Women‘s sixteen-year-old Meg, who wears high heels to a ball – ‘The stupid high heel turned… It aches so, I can hardly stand, and I don’t know how I’m ever going to get home’.

The sign Louboutin recalls inspiring him as a child

Yet this is the sort of height we’re talking about, for the 1860s. Poor Meg was rather dowdily earth-bound compared to Louboutin’s fantastical ‘ballerina’, whose eight-inch high ‘slippers’ are displayed above left. ‘Isn’t the classical dancing ballet slipper the ultimate heel? The heel which makes dancers closer than any other women to the sky, closer to heaven..’ waves Louboutin, airily, in explanation.

Elevation

He’s predictably fascinated with elevation – the exhibition is full of ‘pedestals’ and ‘birds’. But he’s gone a lot further than previous designers: Meg may have been dowdy in comparison, but even the flappers of the Twenties had modest block heels, and the Fifties heel looks almost mumsy nowadays.

One of the pairs exhibited here is accompanied by an apologia from Louboutin, thus: ‘This shoe is not suitable for walking in. You can only walk from the taxi to the nightclub, and back, on the arm of a man’. When asked about the point that women can’t run in his heels, intended for his ‘confident and empowered’ working women (apparently) Louboutin was incredulous: ‘Who runs at work?‘.

Yet he’s also fascinated by showgirls and ‘classic’ vintage-style women (such as his great admirer, Dita Von Teese, who makes a holographic appearance in this exhibition morphing into a Louboutin pump, in a rather literal appropriation of the fetish we’ll come to presently). Such women, he says, can dance and gyrate for hours at a stretch from atop dizzying heels – Louboutin learned all about this during an early career stint at the Folies Bergere, where showgirls used to put cuts of bloodless meat inside their heels to make them more comfortable.

Perhaps this is echoed in the sexualised red Louboutin sole (originally hastily-applied Chanel nail varnish) – a flash of red as easily representing the raw and bloodied foot itself as the raw and (un)bridled sexuality of the wearer.

Venus in Furs

Helmut Newton's Self Portrait With Wife and Models

‘A good shoe is one that doesn’t dress you but undresses you’, Christian reckons – a statement with which Helmut Newton (left) would undoubtedly have agreed. The short David Lynch / Louboutin collaboration film Fetish (2007), extracts from which are on display here, shows sequences of otherwise naked women wearing a series of ‘unwearable’ Louboutin shoes – following Louboutin’s conviction that the part of the female body most naturally fetishised is (you guessed it) the foot.

He’s even got a mini foot anatomy: one of the pumps on display here has a very low vamp, which was initially unpopular. ‘Then I realised, it’s because of the slit‘, he recalls – an unfortunate word, given that he means ‘toe cleavage’. Too much ‘slit’ apparently makes women feel ‘dirty’, but Louboutin’s well into it, although the instep is his favourite part of the foot, perhaps because of his famous belief that the appeal of the high heel is its approximation of the shape a woman’s foot assumes during orgasm.

The fetish

Of course, Sigmund Freud uses the shoe and foot as an illustration for his writings on the fetish – the mother’s shoe, says Sigmund, represents the penis the child originally assumed she has, and to fixate on it assuages castration anxiety. But symbolic castration via the foot pops up in Louboutin’s favourite fairy tale (whose centrepiece shoes he’s working on for an upcoming film):

‘[The eldest step-sister] could not get her big toe into it, and the shoe was too small for her. Then her mother gave her a knife and said: “Cut the toe off; when you are Queen you will have no more need to go on foot.”

The maiden cut the toe off, forced the foot into the shoe, swallowed the pain, and went out to the King’s son […] He looked down at her foot and saw how the blood was running out of her shoe, and how it had stained her white stocking quite red.’

– Cinderella, The Brothers Grimm

The mad but occasionally insightful Bruno Bettleheim sees the stepsisters here attempting to make their big feet more dainty, ‘and therefore prove their femininity’ through a symbolic castration (with a literal twist in stage versions, where they are usually in drag). The problem of the shoe being too dainty is one surprisingly near to Louboutin’s methods: although the average female foot size is a 5, he designs and constructs his shoes in size 4 ‘because I prefer to work on a small thing’.

‘He understands women and makes them feel like Cinderellas’ purrs Diane von Furstenberg on the designer. Indeed, it feels appropriate that stilettos, whose c20th renaissance is credited primarily to the 1950s couturier Roger Vivier (for Dior) owe their name to the Italian ‘dagger’ (hence their unpopularity with parquet flooring).

Domination

For me, the images in Fetish of these women crawling and sidling about in painfully unwearable shoes sums up this retrospective rather well: a fascination with immobility, and a craving for Fabulous Female Domination that suggests more power than it would actually have were it being negotiated from atop a pair of Louboutin pigalles.

But you look like you could walk down the treacherously lumpy terrain of my naked back, make me lick your Louboutin boots…

‘I declare, it really seems like being a fine young lady, to come home from the party in a carriage, and sit in my dressing-gown with a maid to wait on me,’ said Meg, as Jo bound up her foot with arnica.

– Louisa May Alcott, Little Women

• Christian Louboutin, Retrospective at The Design Museum, London SE1. Until 9 July 2012.
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