Paula Varjack’s new ensemble multimedia show Nine Sixteenths is Inspired by Janet Jackson’s infamous ‘Nipplegate’ incident at the 2004 Superbowl.
It’s a fast, fun, multimedia examination of iconic black female role models featuring the rise, fall and rise again of Janet Jackson, and the media treatment of women, especially black women.
We asked Paula to tell us more about the show.
Where: Pleasance Theatre, Carpenters Mews, N7
When: 6, 7, 8, 13, 14, 15 November at 7.30pm and on Saturdays 9 and 16 November at 3pm & 7.30pm
Ticket link: https://www.pleasance.co.uk/event/nine-sixteenths
It’s been 20 years since the Superbowl incident involving Janet Jackson and Justin Timberlake. What drew you to this as a topic?
I found myself thinking about Janet Jackson again after seeing her 2019 Glastonbury show.
At the time I didn’t realise she had continued making albums, music videos and films since that event in 2004.
My research into this led me to unpack that moment, as an example of how black women and especially older black women are scrutinised by the media.
Do you think attitudes have changed for the better for black/women performers who seek to express themselves?
It’s hard to say. There are certainly improvements in some ways in terms of representation and visibility, but representation in itself is not enough.
Essentially, until we see more diverse racial and gender representation across positions of power for decision making in the cultural and creative sectors, we will still face an imbalance in terms of how and what work is supported.
There’s a long history of objectification of women in the public eye, alongside a need to control how they are presented. How does Nine Sixteenths address this?
By looking specifically at the moment of the 2004 SuperBowl halftime show, against the iconic status Janet Jackson held before it, and its subsequent aftermath.
The show highlights the consequences of media executives, lobbyists and politicians largely being men.
As well as using the impact on Janet Jackson as a lens it also looks at the hopes and fears the ensemble carry as black female performers, and that I carry as a black female performer presenting my first live work since before the pandemic.
For Timberlake as aggressor, the consequences were positive. Do you think this would still be the case now?
I don’t think it’s entirely accurate to call Timberlake an “aggressor”. In the narrative both he and Jackson back is that there was meant to be a reveal, (of a bra cup rather than breast) that went wrong (hence wardrobe malfunction).
It’s definitely true the backlash at the time was almost entirely towards Jackson – as if Justin wasn’t even involved! Part of this was also because most people (outside of US) couldn’t watch the event to see what happened.
It’s pre YouTube, and also pre social media – so not so easy for fans to band together in the way online fans do now.
Tell me about the performers and characters featured in Nine Sixteenth?
Nine Sixteenths features myself and an incredible ensemble: Pauline Mayers, Endy McKay, Julienne Doko and Livia Kojo Alour. They are all so uniquely talented and established in their own right.
Our artistic disciplines range from acting, directing, movement direction, devising, dance, singing and spoken word. Between us we are based in London, Leeds and Copenhagen.
All five of us are also over the age of 40. I think it’s an age where inevitably you begin to think about legacy.
In terms of characters, we alternate in the show between playing ourselves, and embodying various personas that bring to life the aftermath of the wardrobe malfunction, but also my memories of pop culture and clubbing coming of age in the nineties and noughties.
Find out more about Paula’s work at www.paulavarjack.com.