Festivals and dressing-up of various sorts have a long history in Western Europe. Not just Halloween, but Saints Days (of which there were many before the Reformation), local holidays, and regional traditions offered communities the opportunity to get together, dress up, feast and drink, enjoy each other’s company and air grievances against others in the community. The spirit of costume and the festival could also be recreated in the moment when a social injustice needed recognised or community discipline needed dishing out. So, every now and again, when a wife was being unfaithful, the community dressed up (disguised themselves), and in the UK beat pots and pans or drums, went to the house of the husband, placed horns on his head (a symbol of his humiliation) and rode him backwards on a donkey through the town- a message to the man to get his house in order and a warning to others. A woman who had breached community discipline might be taken by the crowd in a similar manner and ducked in a pond or river to remind her to behave. This style of community discipline is now known by historians as the ‘charivari’, its Italian name. In Northern Ireland, a favourite form of charivari was for the disguised crowd to go to the house of the wrong-doer (from the community’s perspective) and to make a bonfire, dancing round, singing and hitting pots and pans (or whatever else was handy).
The opportunity to think and protest about power structures within the community was often a central part of festivals. Children, the most powerless in the community, dressed up as kings and queens, the most powerful people in the land (still seen in local gala days in the UK); men dressed up as women and women as men, reflecting a questioning of the ‘natural’ order. Festivals were an opportunity to question the status quo in an environment where it would hopefully go unpunished (there were boundaries!), and costume allowed individuals to make political points ‘in disguise’ (although this often was in part an unspoken agreement to not recognise individuals). A central concept within festival tradition was ‘the world turned upside down’, the opportunity for people to become what they were not in everyday life- to don costumes and become for a night what they could only imagine the rest of the year.
In contemporary society, Halloween is one of the only opportunities people have left to engage in this tradition. So, what do their costumes tell us about our society? Some of this is obvious- people dressed up as superheroes are always popular, reflecting a desire to be larger than life, to matter and make a difference, in a world where the individual is seen to be more important than the community and working together. The superhero is the realisation of the individual at its best. Doctors, nurses and surgeons covered in blood is a rather obvious comment on the medical world as people who save lives and yet are never far from death. Like witches or zombies in the past, they increasingly represent the boundary between life and death, the real world and the supernatural. This year we also saw the wider cultural obsession with vampires in numerous costumes on this topic, highlighting our interest in immortality in a world where death seems increasingly distant and scary due to decreased mortality for the young- and living forever seems increasingly realistic.
And finally, we have the ‘slutty witch/nurse/bee’ (seriously, I saw four slutty bees this Halloween) or whatever costume you like but with a lot of body parts showing. If the theory of festival and charivari holds true, women dress as ‘slutty X’ as it is both conventional and denied to them. That is, disguise should be understood by its audience and should be commenting on current social expectations- no thinking outside the box or you become culturally irrelevant (as every historian who chooses to dress as an obscure historical figure to a party amongst non-historians knows)-so it is conventional. It should also be something that cannot be worn everyday- you must become more than yourself, but not so out there that you become meaningless.
So what does the ‘slutty X’ costume tell us about our society? It suggests that the ideal of women as sexual objects is held out to women as an ideal form of femininity, but also one that is unachievable in the everyday, and perhaps even inappropriate (like the child as Queen). Its ubiquity also suggests that it is the central cultural norm that women have to use as a standard for their behaviour. It is notable how few women today now dress up as men for Halloween-a phenomenon that was extremely popular in past generations. Women today no longer see men or manliness as something to be achieved or as shaping the female self- perhaps unlike men’s position towards women (you still get men cross-dressing at Halloween, although again this is becoming rare in the straight community). Instead, the all pervasive sexy, slutty woman becomes the central standard that women are expected to strive for or idolise, when thinking about self. The princess in all of us, that women in the past were thought to desire to be treated as, is gone. Instead, being sexy or ‘slutty’ is the new model for femininity. It may be unachievable, but it is always there, shaping hopes and desires and sense of self. It is also worth noting, like in so many other spheres of life, that men have considerably more options at Halloween than women, who are increasingly homogenised.
Perhaps next year (and look I am giving you ages to think about this), we need to think about costumes that both challenge the status quo and are unconventional; costumes that challenge expectations of femininity and provide an alternative commentary on what it means to be female.
The opportunity to think and protest about power structures within the community was often a central part of festivals. Children, the most powerless in the community, dressed up as kings and queens, the most powerful people in the land (still seen in local gala days in the UK); men dressed up as women and women as men, reflecting a questioning of the ‘natural’ order. Festivals were an opportunity to question the status quo in an environment where it would hopefully go unpunished (there were boundaries!), and costume allowed individuals to make political points ‘in disguise’ (although this often was in part an unspoken agreement to not recognise individuals). A central concept within festival tradition was ‘the world turned upside down’, the opportunity for people to become what they were not in everyday life- to don costumes and become for a night what they could only imagine the rest of the year.
In contemporary society, Halloween is one of the only opportunities people have left to engage in this tradition. So, what do their costumes tell us about our society? Some of this is obvious- people dressed up as superheroes are always popular, reflecting a desire to be larger than life, to matter and make a difference, in a world where the individual is seen to be more important than the community and working together. The superhero is the realisation of the individual at its best. Doctors, nurses and surgeons covered in blood is a rather obvious comment on the medical world as people who save lives and yet are never far from death. Like witches or zombies in the past, they increasingly represent the boundary between life and death, the real world and the supernatural. This year we also saw the wider cultural obsession with vampires in numerous costumes on this topic, highlighting our interest in immortality in a world where death seems increasingly distant and scary due to decreased mortality for the young- and living forever seems increasingly realistic.
And finally, we have the ‘slutty witch/nurse/bee’ (seriously, I saw four slutty bees this Halloween) or whatever costume you like but with a lot of body parts showing. If the theory of festival and charivari holds true, women dress as ‘slutty X’ as it is both conventional and denied to them. That is, disguise should be understood by its audience and should be commenting on current social expectations- no thinking outside the box or you become culturally irrelevant (as every historian who chooses to dress as an obscure historical figure to a party amongst non-historians knows)-so it is conventional. It should also be something that cannot be worn everyday- you must become more than yourself, but not so out there that you become meaningless.
So what does the ‘slutty X’ costume tell us about our society? It suggests that the ideal of women as sexual objects is held out to women as an ideal form of femininity, but also one that is unachievable in the everyday, and perhaps even inappropriate (like the child as Queen). Its ubiquity also suggests that it is the central cultural norm that women have to use as a standard for their behaviour. It is notable how few women today now dress up as men for Halloween-a phenomenon that was extremely popular in past generations. Women today no longer see men or manliness as something to be achieved or as shaping the female self- perhaps unlike men’s position towards women (you still get men cross-dressing at Halloween, although again this is becoming rare in the straight community). Instead, the all pervasive sexy, slutty woman becomes the central standard that women are expected to strive for or idolise, when thinking about self. The princess in all of us, that women in the past were thought to desire to be treated as, is gone. Instead, being sexy or ‘slutty’ is the new model for femininity. It may be unachievable, but it is always there, shaping hopes and desires and sense of self. It is also worth noting, like in so many other spheres of life, that men have considerably more options at Halloween than women, who are increasingly homogenised.
Perhaps next year (and look I am giving you ages to think about this), we need to think about costumes that both challenge the status quo and are unconventional; costumes that challenge expectations of femininity and provide an alternative commentary on what it means to be female.
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