Sexe Oral - Dépasser LA HONTE avec le Pole Dance?

Episode Date: October 2, 2025

Les propos exprimés dans ce podcast relèvent d’expériences et d’opinions personnelles dans un but de divertissement et ne substituent pas les conseils d’un.e sexologue ou autre professionnel de la santé. Cette semaine sur le podcast, les filles reçoivent Sonja Sloan, professeure d’université et danseuse de pole dance. Ensemble, elles plongent dans l’univers du pole comme outil de réappropriation de son corps, d’exploration de la sensualité et de résistance aux normes patriarcales. Au menu: - Le parcours de Sonia, entre doctorat en histoire de l’art et pole dance - Comment la pole peut transformer la confiance et la sexualité - La libération de la sensualité face aux tabous sociaux - La réconciliation entre recherche académique et pratique corporelle - L’inclusivité et l’impact du pole dance dans les communautés  Le podcast est présenté par Éros et Compagnie Utiliser le code promo : SEXEORAL pour 15% de rabais sur https://www.erosetcompagnie.com/ Les jouets dont les filles parlent: https://www.erosetcompagnie.com/page/podcast  Le podcast est présenté par Oxio. Pour plus d'informations: https://oxio.ca/ Code promo pour essayer Oxio gratuitement pendant un mois: SEXEORAL  Pour collaborations: [e-mail] Pour toutes questions: [e-mail] Pour suivre les filles sur Patreon: https://www.patreon.com/sexeoralpodcast Pour contacter les filles directement, écrivez-nous sur Instagram: https://www.instagram.com/sexeoral.podcast/ Pour écouter sur Spotify: https://open.spotify.com/show/59Z6zW2JDjKXDjnLTOC78c Pour écouter sur Apple podcast: https://podcasts.apple.com/fr/podcast/sexe-oral/id1547085665 Pour louer un studio et commencer votre podcast: https://studiosf.ca/

The podcast of today is presented by R.C. Compagy! Yes! And the prostate of Quebec. Holy

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for me for a for an amy for an for an ami so so that this is incredible

you can you can you can you can you be able you're with the sexoral

for 15 for Sandra Abbe Good discovery. A good production of Studio SF. Today,

on podcast, we're so Sonia Sloane of his real name of nessence, Vanessa Paran,

who is a person really very very interesting that has plenty of dimensions, but we

focused on the subject of the pole dancing. Okay, today, so

she's she's a proff also an university at Concordia, If I remember

She's probably She has a total A dimension because she She studied the history of the art but at

the feminine The story of the female You're probably more to let us We're probably better to let's

incredibly She's an Dess It's the reincarnation of the Dess pure

it's a reigning You'll see all what she's all pertinent I'm

I'm in Amour with this family that It's how the pole

that it's an exercise of reappropriation of his body, and an individuality feminine, and it's fucked up. It's all the dimensions.

It was really, really interesting, and it gives the good to get to get ridmussie on these potos. Yeah, yeah,

I mean, I've got to private with her. So, so you'll me go back. True out. So,

that's a poll. Good episode. Enjoy. Thank you. Today, the podcast is presented by OXio,

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so that we don't with the code sex oral. Thank you. Thank you. This podcast is officially Yeah, because it's all right. Because, it's all right, because then it's all right.

So, welcome to podcast. Thank you. We're not going to interrupt. It's the first time we're not going to interoperate someone who's going to get. It's what's what we're doing to say, you know,

talk about we're talking. Okay, okay. But, we're really content. Thank you,

Sonia Sloan, to be here. But, now, you've been to have to that's an alias.

Yes, and that, and that your name is Vanessa parent. Exactly. Yeah.

And it had felt that you have to face an disociation between before we

in all if we're could be we're, well, we're just just say something,

because there the pot he's saying, okay, the subject, principal that we're

supposed to talk about today we're going to it's the pole dance

with Sonia with Sonia with Sonia but but there in entrant here we we said

and then I've discovered other other thing and it's other other thing that

that is extremely extremely extremely interesting and important so that I

want absolutely that we finally that's not that's not the subject

principal he will be and like you said on your time

your work and your dance, they're co-habited. Is what you want to talk to

do you please? Well, yes. You can't understand. In the fact,

I'm going to see how she was in entering, because she had asked, I remember not I remember

not how it has been there. But in the fond, I'm concordia, I do the

research, I circuled in the domain university academic and all that, and the formation, I'm an

historian of art, so I'm a doctorate in history of art, and I five of

history of art. And my speciality to me is the performance and then

the corporality, the core and the issues of gender and of sex. And I observe that

or, you what's what I interest is how the car and the issues of gender

and sex are like influenced or informed by these structures, the conditions

structural like the capitalism, the mythology collective in the society like the myth of the nation,

the religion, etc., etc. So, so it's full. It's very much with, you know, the sexuality and all that.

And then, um, well, when I've started, my doctorate, it had some years

that I did the poll, and then a question, my research has started to really influence how

I'm saying the poll, and my approach to the poll, and vice versa, really. how one has impacted But it's for that

I have two names because I have started my doctorate in 2011 and it's it was really a different time

there's a certain misogynies there's there's a sexism that exists I'm not need to you know

and for me to me protect a little in a milieu of the

work that is very conservative that could there could be there could be a backlash against

what I I did on internet, I've found a different name. Sonia Sloan. Because

that you would not that's not that you get to get your job? Exactly. Or that I

could not have a job that's not negative when I'm embark on the market to work on

my doctorate by example. But there I'm just I've seen with the poll is that

that's that that's a better academic, a better a better churchoes, a major

a major Why? What's what's that's you know because I think I'm the impression

that I examine of a code theoretical at the university in my

research I see the I'm the real with my work

in the poll not just in the studio but my proper practice

of poll how I develop my manner to move

my my manner to express my sexuality how

I try to mined the erotism as form of resistance against these the issues

patriarchal that I internalized so it's a mode a performance of disapprentisage it's it's really

to disapprent the misogynia internalized to which I didn't really not at current and it's

that I try to do my course at the studio of Pold or the

clients private who just to me And what's What's What's What's

What's What's What's A lot A lot A young A young woman That's

The Avant After, after Oh my God Ah, but It's It's Primement

It's The great privilege To teach of the Pohl, is that

I see The person S Epanwere Really Yeah So often There's

Yeah There's There's Someone who It's really intimidant. The people are at a-moatine-nue. They don't know why.

And often it's because it's just technique. For collie to collie at the pole, you have to be at a moatier, that's it. But also, the plus that you're in fact, if you're in the gout a little bit more sensual, you know, you're going to be more abbeyed. You know, a girl comes in leggings and in t-shirt, and two months later,

they're in string bikini, and, you know, in talon. Yeah, well, in talon. So, I've really remarked that, And it's the feedback that I have of many students in the years,

it's been quite 17 years, that it's assume more in the world exterior. You know, the little world security

privilegedier of the studio of Pohl, by example, it's just these regards well-veillance. It's really

a world privileged, you know, where's they can explore and de-apprent how, you know,

all the the of sex and of gender that have been imposed on on them and they've

of the and they're like they're like, amn it in the world in their relations,

especially at and they they're they say, they say, I'm assume plus at the

time, I'm assume plus in my relation, I'm I realize that

that I'm that I'm that I'm there some angles more by how I

judge the other women? also. So, there's a certain overture that's made and just a nasance with

them even, especially a nasance with their car, because ultimately, it's, because I'm, I'm more the

kind of the kind of, there's plenty of style, and I'm, it's more the erotic, like you

have you see, and I, in the context, you've been at the season two of sex oral in caval

that, that's that, that's so, that's for that we're that's for that, that you have made

a demonstration absolutely extraordinary my chair was a tramped it's a it's very

it's very I'm I'm in my auto and I was just visualized these two like

pack in a man she's the same pat down right and so that

that this is you know the I'm I'm I'm I'm

I'm I'm I'm sure I'm the same now I know now it's

what it's how how you define that in the fact?

She's it's you it's too it's it's it's you in the discussion

it's it's like it has a lot of it's it's rare

someone who who who made this effect that without

that that you just you just you you're just

oh my my my my my confidence that you

have the lesance that you the regard that

the posture that that all we we all the time

tendency, you know, the women to be in to be in to be to be,

not to be too to be able, not to not be to be really just explode

you, you get, it's of beauty. I've never view that. And I want to

see it ever every day to my life. But when you know, if

Nicole or someone can make an extract in the podcast on the

YouTube, we we may at the instant. Today, we have an

activity It's a very special. We're going to Mila Poldense Studio. And what's we have today with me, Joanne? Allie! Hello! I'm really happy! Wow!

It's the one. He's not. Oh, he doesn't. Oh, he's not. Oh, good. Oh, it's great. It's a lot of life. Oh!

Oh! Oh! Hey! Oh! Oh! Is that you know, how it's going to be, how it's going, how it's to come to start? Why it's to come to learn to study all what is?

Well, the pole avant, because you've started the pole before. Yeah. Oh, it's true. Yeah, I've started the pole before. So, I'm, I'm always in the fitness. Talk about you to you're when you were like you're like

Why it's Why it's Devenue An passion for you What's like I'm always I'm always

Like I'm Like having Have a public And I'm But I'm But I'm But I'm You know

I'm not the Coole No I'm not No no I'm I'm I'm very

Very Inibed And then After that It's It's got It's It's been

It's It's I've made the theater, things like that. But I've always been very interested, very connected to my car.

I liked to dance, I'm, well, yeah, brief, I'm always, I'm a fitness. So I was

been like an trainer personal, like a little job-in, you know, and a day, I was

at Vancouver at this moment that, and I got to see who exists for these jobs in these

studios of fitness, and there had a studio of fitness just for women who'd be in a studio to see a studio

of Paul who did open in the announce I didn't know I didn't know and I thought cool and I had

already seen that it you know it had there were Demi Moore who had made striptease the film

and there there had S Factor that had started and all it would like oh it

would be really really cool that it's I'm interested I'm I wanted a lot of barred of dancers,

and I thought it fantastic, and I just admired robots. So I said, oh, cool. And the female, who is the proprietor of studio, it was an ex-danceess, who had quited the milieu, who had said,

okay, at this age, I'll take my retreat, and she'll open a studio of Paul. And it was a moment where it was still very, very, very taboo, really taboo. So, in the front,

what is coming, is that she said, okay, perfect, you're strong, I'm what to do and you're

and then you're going to do you know, the next time is the same thing, so I'm

like I'm taught in an enseignant. Oh. Yeah. So, that it had come

to the same, and then the Apollo had to become more popular. But for

to be to get in a world of sport, there's really had a genre

of white washing of Apple that had that's dissocy the taboo

of sex, you know, for to be a pole fitness. And then,

I mean, I'd not know there's really not there the aspect gymnastic,

yes, it's the fun, but, you know, it was it was really an

tool for me, to explore a sensuality in a, in an space

where is that I had not the right to do you like, you know,

you know, it's we're need to send too place. We don't that we're not we're not there's not

an gentivity by a part to our selfuality. So, I'm, I wanted really to

this kind of erotic. So it's that I started to have my mentor, who was the

proprietor to the studio, and she had had been in stint so she she had

quit the studio, so it was me who was I'm going to I've been to teach many of course.

And then, I've got to teach several dancers. And I'm, like, I've, like, And then I realized that my feminist was really, my feminist was really inedquois, really inadequat, because what I could do for a woman who I chose to do that as a

job, is to make sure that I support that in, that I'd have, that I'd have, you know, a formation, some of the concesses for she to have a better show to demand more money,

be in the middle of the clubs more securetair to be more confident in what she has been

I've seen I've really that there was a blind spot in the middle of the pole

at that that I have tried it's not just me there there's

not just me there there in the middle of poll who have who have

lute so that it continue this kind of separation between it's really

the misogynia internalized that flotts in the world of the Apollo so that's that's so and in the same

time I'm returning to the university for doing a part of an history of art a couple of

years after I entered at a doctorate and I what I'm interested was the

performance or is there not necessarily an object of art or a painting

that's it's really where the core of the artist in performance is the work

So I like, there's like an experience intersubjective, you know, and this moment of exchange between the core of the performer, of the artist and the person

who regard, it's that the experience aesthetic, who does something to do something, that's changed, who'd

make realise these things. That's you just, you just, you know, when you said, well,

you know, we realized that your performance, there had an other dimension to that, it's not just the pole,

it's literally of the students of university. It's for that. It's a captivate. I'm captivated.

I'm used at the same time. But, no, but it's made of what, to give the right?

You know, I've got to all the time to dancey sexy. All the time I was young, I wanted

to dance to us new. I don't know why. Also, I would, I looked at, I looked

in the video of Alice Cooper, and I said, it's like, it's so that. It's so, but I see,

I don't know. I don't know. My job, he's asking the question. One time, you know, if you plurra, I'm saying, no, there's what? In my shows, it's these women. It's even not, there's what,

that's what, who, who, who, who, who, would say, in the sensuality,

in the movements sexual, sensual, but it's true that's the mal-vue, and, you know, in my videos, you know, it's the same,

it's like, ah, no, it's, if it's there's there's not for you

it's not for you but it's not for you because it it's always used at a

through like a regard external which is omnipresent to which supposedly

we need to play all the time we're all the time supposed to plair a regard

that's external omnipresent which is gendered that masculine that's

too normative it's it's it's it's it's it's

it's But when you dance for you, like, it's not for a regard. It's just me that I like that I'm, you know, I'm assume there in the same thing, you know, when I dance, what we do, what I do with, what I do with, what we dole in my course, it's more that, to stop, to try to perform for a regard external to who we ought to play. And, you know, the erotism, it's really do pleasure just for the pleasure himself

without to like to play a someone of a way that's like, it's like an

an ethic of productivity to, to want to attain the next level of the sexiness

and fuckability, you know, I'm okay, but why you sound the need to say,

let's know, I'm know, the people that are like, okay, so, so,

so, in the but it's but it's still, but it's still, there's

I mean, when I'm, I'm more, I'm a community, it's to incite the people to be we, we can, we're doing, we can dance, it's so, honestly, I, I have a Facebook,

I don't post not, but that, I have a gross community, I've got plenty of women who so, so, I'm, it's really in the sense that, I know that I'm doing, and that there's people who make, wow, it's inspiring, it's the fun, that you're free,

so it's more in this part, that it's not the approbation that I research but it's really to incite the people to get more

and I'm I don't know a call it's really not at your not at your not at your really, it's

really just in total liberty and you don't need to be professional just for to be able to be able to

have some but where is you think that it's in your in your in your did you

have been why why the um well not the women, but why it's fashant? The sexuality,

the sensuality in the dance, it's up, you know, that's what I'm saying that. Yeah, and it's

true, it's not the men, it's, it's a system that's gendered, that we, that we can't

in the water, it's like if it's been in the water and we're not not that, but it's all right,

but you know when you're like, you're like, you're like you're like can't can't

be able to be able in my research for trying to understand of how we're on

it's arrived there. And at university I developed a course that's called the

monster feminine and I teach in Concordia it's for four five

years I'm I'm and I teach at the University of Ottawa also in

French and then we look at the works but not just the works

of art the literature the literature the philosophy the discourse

scientific datan before the age, even to the Greece ancient,

how that all that all been mobilized to construct an idea of the

feminine who automatically is associated to a car that has a uterus and the

feminine is not just that or what we call the feminine, the feminine in

being something of menaceant and monstrue and in being menacing, it's a corporeity

that is menacing that's a capacity to coromper the logic masculine and then and then

we're in the sorcercerer but it's that's that so you regard even the discourse of Aristotle of Aristotle,

just to Francis Bacon, and the royal James de Lekos who has written the text on demonology, who talked how the women are, you know,

the discourse, even, of the medicine, who, who are really, have been mobilized for disciplin the car

feminine for being an instrument of reproduction that is non-menaceant. So, so it lends many of power,

in We're seeing that of the same, the men, it's like the poor victims of

the sensuality femininite. Well, let's, you've plenty of power of your man,

my beau grand gaiard. But it's that, it's the power to coromper, you know. If you

see, if you're assuming, your sexuality, if you're an extension of that,

it's, it's menaceant. It's menaceant. It's menaceant to an idea of what that a culture heteronormative

is? Where is that the woman is submiss to the reproduction reproductive

and not just like having the baby but to reproduce the man that they make

a friend to be to be to be to be to be her food

to get her at her mom but also if you you think you try

to try to enlarge it a little bit. The feminine, it's an any part that's not the manner

that would be, you know, to say, someone who's someone who's in a car

mal and who can't not, the, the, the, the,

the, the, they're associated stereotypement to typically to the man. It's a

deviation, the feminine, it's a deviation, you know, to be menaceant. So, like, you

arrive, in this moment, we're in a super relever of the extreme right. The first

things they do, we attack the rights of liberty of reproduction, you know, the sovereignty

of the family on her, and the community LGBTQ, you know, because it's

these deviations, it's, it's, it's not , it's menacing. How it's impact

your because I assume that you're heterosexual? I'm notherosexual, yeah. Well, that's it. How it's impacted your relations with the

women? Because I hear a lot of dimensions to who you're potentially like I'm not not capable to

I'm embark with someone because I see too the subtilities of the dynamic of Mard

Yeah, yeah, is you Is it too? Again, it's liberator. No, in fact, I'm with someone who's a maturity emotional, incredible,

and who is extremely comfortable with her person, so there's zero problems on this country. But I think that the most gross

confrontation, it's sure that it's caused some problems in my relations, because my ideas can be confrontant. But at the place to

to talk to the other person, I'm what I would have to be able that I'm

there's a lot of that I'm in the pattern that. The processus of disapprentisage he's

never made, you the desire to play, to find this sentiment of security

there in relation, it's really it's that I had been that I

confront my capacity to my and abandon my, you know, even my my, you know, my, you know, my , you know,

for, just, have a certain security emotional, and it's so it's so that it's really

that I'm really, I'm in an impression that even in a relationship with someone

who is very alumed and, and, like, as you say,

we're, we're, we're there's, it's that this dynamic that exists

in the subtilety, you, And that, sometimes it's hard to live because you're

like, you know, it's like it's like you have accept that you're not in a combat

constant, you know, and that you let's all over, but it can be challenging

on the level of the values. Yeah, you know, you know, we have,

you know, it's, you know, it's, you know, it's not, and that I think

that, it's, it, it's, it's, it's, it's, a more

conversation on the issues of feminist and no, any part of which, any part of which project of abolition, we can not all right of allier an coup. It's, you know,

there are some conversations difficult for that there are people who can't understand not the subtlities can't just they understand, but have more

of, open and can see the accue and all a place to say

look, you've made an error and I'm a little where I don't know

it's it's farme the discourse at the place to open the conversation and I think that

it's for that there there's there a lot of there of reaction

justly against these lute feminists these lute LGBTQ

have you had been in the lot of the colonialism, by example, that have used in the years 2010, that now we've seen a gross

resurgence of a masculineism that's very very dangerous, and, and, voire violent. So, yeah.

Mm. I decide to interrupt this podcast to respond to an question of oxio, our forenistern of Internet Canadian-preferre. He wants to know, what's our last research Google? I like totally so, to find that.

My last research Google, is Samanta Ardente, who is an actress porno-quebo-queboes retraited, who is with Pegas production, because we've received

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Visit it OXO. Poetta and say the code sex oral for have a month internet gratitement

on OXio. Thanks, much, bye. How you how you see in your class

the evolution of the years? Because there it's, how many an year that

you I'm saying? 17. 17. I imagine that with the time that change also,

you see a evolution, you know, in your course, how it's, yeah, and I'm,

and I, and I, I know, there's a lot of people who come, and I'm

saying FAM 6, because it's pretty these FAM six, and what I would be

more, it's more of, like, of the open of the part of the

studio for that's more for the person non-binar, the person trans to come in

these spaces there. So it's more the famousists who come in the studio who

they're not just to have the poll. They are there for a reason. There is

an interest to disapprend of the things that have internalized to use

their core as interface for like defare these these embuscades that

that are, you know, that they're impairs to really access to their life sexual, in their,

or sassum in their work, they're saying that at some part, the fact that they're

that's obliges to bring to more to put more in their life and directly connected to

their relation with their car. And their as a car as an entity sexual and sensual and that's there's a desire.

So, there's really a desire to explore that more than to be in the technique and in the choreography,

and to be the part of the people are just to roll to the earth and be and, you know,

it's, it's more, okay, how I'm how I'm doing it's, they want to be

the movement, well, the two exist because I mean when we're to go to studio. Joannia

was more in the I want to be in a water and me touch but in my car.

Well, that's sure I'm in front of my sensuality. I was more than my sensuality.

I thought very sensual. You're super fine. It's really a sentiment at the interior. Yeah.

It's true. Your sentiment is valid, but my phone. But the aspect

technique also is really interesting because let's on there, let's a few years

years of years ago, he was going to say, I've got to say. I'm going to do you. Yes, it's

true, yeah. And I had documented on my channel on this moment

like the progress and the difference just of how you know, I'm not I'm not

becoming more in time that in a month but the difference on to

understand to understand to understand how your can't be able. Exactly, yeah.

It's a few because it's even not, I'm not I'm never done

but I know how I'm trying for, in the case it's really particularly. It's

you've made something it's a feeling, it's a try to learn the movement and to

to, you know, the aspect fitness or, you are really empowering it's like

when you go to work and you get to get used to be a metrice

of the core and and certainly with the Paul, you know, the place to go to gym, where is you're like, yes,

I'm able to benching plus or make a hip thrust that's more low. There, you're in trying to track your progress at the time that you're capable to execute,

the figures that you're able to execute. So, it's, it's de-plase or it deluge the emphasis on my car that's like

of what, you know, these affairs of grossophobia internalized. It's like, what's, what's,

what's, what's, what, to have a certain mackery of his core of this manner that

it's really it's really empowering is true Is that all the the genre of the studio

where's you work or the different studios are made for all the world? It's

made for all the world it's sure that individually so first for the

question Milan Paul Dance where is where is I'm a studio that's a lot of effort

and has a lot of success by rapport to the inclusivity. We have started the course of place 6 we have

some of the profs who are specialised there in because we know that just all the cars can

are welcome and everyone are capable to do it we're able to work NB for the people non-binary

and trans who is ensigned by a proff trans El Eros, which is fantastic. Justly, because, because, I, in time

FAM, 6, with a gabarie, a certain gabarie, and, not just that, it's been 17 years, I've done, I've got, I've got, by rapport to what XYZ can do so. We're also,

there's an student, justly, there's an student who's coming to bring the course. So, there's really a desire to render the

more accessible for all the world because it's really for all the world how you how you're how you're

teaching? I'm not I'm never ensigned but when we know, when we've

seen that had been to come at a studio wow it's sure that the level

has a master of their car and they understand really how

to navigate a world with this kind of of an issue

but we we're we have a group chat Lant-Prove, and say, okay, what's these things that we've got to be able to

keep in different, to be sure that the students around her satch, to, perhaps not to be able to take too place

in their movement because she'll be able to the paw, the spin, if you do a figure, your feet can do,

make a, you know, a tour and you can have to just try to find the manner, just it's

it's forced to discover our angles more in our apprenticeship. Yeah, it's it.

And, you know, in a non-voyant but I imagine it's not that. Yeah, it's in the sense that we had our eyes and

we're not sure that we had to have had to the reality. We would have felt other

I think that's good. It's fantastic honestly. It's, but I understand that I think

sometimes we're there's there's just, I think, I'm trying micro of dance, and my worst cochemist, it's the spectacle, it's to learn

a choreography, and my professor my professor me had said to joinie, it's not, I'm not capable, and I'm able to show, and I was doing whatever like in my pieces of theater, and I'd have a piece of theater,

my professors, they'd detested, I'd change, and I'd go to feeling of the vague, of the scene, and, oh, that, you're there, there, there, there, I'm not, I'm not, I'm able to see.

It's just, it's the resistance, that, to the structure, I got shied the piece to everyone. That, but I had stopped to dance

because my professor, I would always be to remember, she, she, she, she, you know, there's is you

something, you're not capable to learn these, but not capable to learn, not capable of not able to

adderry because I'm not able to be, like, an record of a choreography. I,

like, you know, I'm just the good to, you know, it's difficult for me

that my my my brain he's not in in, so you're to stop

that's, and I've not tried something for me, and that's it's more the pole

dance, that, I'm still, there, there's a show show there, there's a

play, but there there's a it's a it's not real, it's a it's a real, we're there's a

movie, we're there's many, but there's the spectates, or is that you can do you can't,

you can't, we're really, we're really, we're we're really, you know, we're

all the years. Now, we have one who's a little bit more family friendly and the other who's more, you get erotic and you can be

you can be at the pasties like you want. We can't pay you to go that or how it's over to it's open to us

Yeah, impossible. But, you know, there's people who are like you're exactly exactly exactly same.

I'm not capable of the choreography, it's always like improvised but there but there's there's a

certain security in the structure that the Chorigraphy, we don't, and without this security that, this structure

that we can not be able to it's just, it's just to know how we're not, you know, there's not one

that's, but you can come out of studio, bring my course, Erotica, the Mardy,

and you let loose, I, I'm, I'd give some, like, okay, we're,

we say, make a pirouette, if, see, we've got to see, you're just, you're just,

you, it's just, you, it's the, it's the, , show all the long. And you, he was at how old?

You're at 7. He's at 7. September. 7thor, tomorrow. Tomorrow. Yeah, but it's the Mardy, that I said, at all the course,

because we're doing on finish the podcast, and then after that, I'd have to have I'd have to suppy at home. Okay. But for real,

you know, you're saying, you know, and you imagine to have an course where I've improvised over to

other people, it's, it's terrible. It's not me son like a coachmark you're not

the same you know there's a question like oh my god no no I want

I'm going to and I'm a choregraphy to learn and I'm one of two three and four and

five I'm sorry I'm paralys you know I'm paralyzed yeah it's like oh what

what I'm yeah I'm I'm too malle yeah I'm sorry I'm

I'm sorry I've made the inverse I've had the part to learn the part of the

choreography I really that, but when it's the moment, okay, time-lib, I'm like, oh,

a suit to congement. No, in the sense that you offer the two in the studio, you have also

this, the part that more, because all everyone has different style, there's

there's not a proff that's like I'm the good, to have like cocheon, but, you know,

my name to have, to have, you know, to have the good, you, have the good of being

to be cocheon. You've got a good to express to, you know, to get to be moose, man, that's the question. I've got to be to look to be in the mirror and find that I'm cocheon. It's not for

the other, it's for me. But, you know, you have just, you have a little bit of structure to do it, you know, you're trying to, you see, that's exactly. You know,

there's just the people who, have, there's the people that, because, you know, because, you know, we can't talk

of the orgasm, it's very, you can attain a summone of orgasm, which is very by rapport to the dance. Is that

you have already a orgasm dance oriel? Dance oriel, I invented them. Densoriel, we'll put it in a dictionary

of dance. I'd say if I could call it like an exstase. Arrived to an exstase,

yes. An orgasm we can we can come that, we don't, but it's

definitely a foreplay for me. It's that that's what I'm turn on. Because, I'm really like my partner of sex,

there's person that's capable to be able to me play like like I'm like I'm like, you know, in the sense

that when you touch, when I'm touch, not just that, but the manner that I'm desire

my name, that I'm that I'm, the regard at the I'm my eyes, my lunettes

I, I'd say, it's something that something that I've got cultivated at through the dance so I think I'm

I'm absolutely of ecstase in dancing that it's a laugh at the mirror if you're that I'm afraid oh yes

but you see that you know that's that you that you that I let the car to take the

deuce you know I say in English I get out of my own way I get out of my own way

because often it's us we're making our own our own our own our own there are

there's like it's like it's like what's like what's what's what's what's

in your sexuality in terms if you were at a less to the of the

all this it's clear that's it's huge huge huge huge

I was I'm I'm I'm I'm I'm I'm I'm

one to have one embarked in the parkour of research in which I embarked who are always like he was parallel and then

we're going to make together in a way very very concrete I was very innibed I'm just a girl who is a woman of Quebec

I was served at the mess in an church Anglican I'm there was there there was there was a lot of discourse

in the milieu in which I circuled who was, you know, who was very not pro-sex, let's know, it's a very sex negative. And then,

and I've absorbed it, and the dance, it's not just like the dance, but, you know, it's the exchange with the other women that I've gotoyed

during the dance, you know, during my parkour of dance, the conversations that you, the, the, the,

the, the, the, the, the, that you, that, you, that,

that, You know, the Traveilleuse of sex that I admired also,

that I've got to be many who are working, and the manner that they,

it's sure that's a performance of, to desire for an other regard

that is often malveh but it it's, it's, it's, it's,

it's, it's, like, when I'm, 28, 29, 30, it's a

processus which is arrived too that I'm to say to say, it's the

it's like that's that's it's not because it continued to evolve. But,

yeah, it's completely changed my relation to my sexuality. You know,

the comfort that I have with my car, primarily, I'm not no, I'm not

an issue on the core corporell, uh, um, it's an an overture

really, that, I'm more more d' ambuscate to pleasure. And, It's beautiful

that. If you do that on a t-shirt In the Dundle of Pleas Yeah, in a bus Cade of Pleasure.

In all the sense of the term The core is the sole way of live the pleasure it's at

the same, it's at the time, you know, that's sexual as well we can't see,

the erotism often we have so sex but, you know, mange something

that's just your car that's just your car who can live that, to hear the

good music, regarding something that's really beautiful, the pleasure is at the whole,

so it's always in trying to disciplin your core, instrumentalalize your car over something

for the productivity, for plair to someone to play to someone to do you do it's never to you know,

it's just ambuscate to a pleasure that's really sovereign. So, I think it it's,

it's a long response to racourcing that, it's really I've, I've arrived to try to

continue to continue to cultivate a certain sovereignty in my pleasure to me. It's beautiful. Is that with your partners,

you've been very sexualized? You know, because, you've done, there's been a lot of people that have felt sexualized? Serious? Not, no. If there's a thing

that my partner, it's not the fact that I did do pole dance. Oh, wow. Yeah. I can really say that I'm

perhaps danceed for a partner one one because it's really, it's really,

it's really, it's really something, that, that's not necessarily, yeah, there,

there's, he was really not interested, and it was perhaps it's perhaps it's,

you know, when there a man of interest, really just like, oh, how it's to be at

the work, you know, how it's in form your life, or the part of net at the through the world, you know, the perspective, no,

no, no, there was zero interest, there, even I felt like, there was perhaps there was perhaps that's not necessarily

had been the relation for me. No, not the partners with who I'm entered in relation sexual or in

relations intimate, no, not really. And, and these judgments of the judgments

by the whole dance Oh, the judgment all the time yeah all the time and you know

when I did it when I didate who had an a comment a commenter a comment

that was really misogine or you know ignorant it's like chow don't pass goal

it's what the phrase that's what you have said that you've been

well you know it's like it's it's really that's it's just it's not

my face. It's the people that, oh, you know, I, I,

I said, I, I, I'm, I, he said, oh, he could

have never be with a woman, you know, I'm, you know, I'm,

you know, and you, it's, you know, and you, and you're, well, it's,

it's, it's, it's, it's, well, it's, it's, who I,

who I, who I, who I, , who, who, , who, , , who,

ideas of the same about about the people who who they judge like that it's just

a lot of information to say not sure that I'm not sure that I'm sure that I'm going to learn

to know. Is that you've already had been some people in your course of Poland who's

who's going in your university vice versa yeah right yeah yeah

yeah oh yeah oh yeah it's already a couple of a couple of um

um some sometimes asar let's fuck off yeah yeah

of Monstrues Feminine at Concordia and he arrives and he's like Dr. Parent Oh, right. Yep.

Call me son on here. Yeah, it's that. And there are a lot of students, there's a

there's a girl who travel to Studio Cat who was one of my students in the

course after that had put my school and she had in the history of Concordia

by pure hazard. And she had to work the coordinator of studio fantastic.

Impossible. Yeah. And, yeah, it's arrived several times. And I'm

there's a time I'm like found by a chance, I'm the impression. And then

some of the workshop of floorwork of dance sensual to soul who are independent of

studio, who are there. And there there are a couple who are there who

have been at these course and at the autumn I've seen in my course

and I like like, but are you're going to be in the comfort when it's that or not than

that's so not than that not that's not like that I'm like that I'm like that I'm like that because it's

for that that I had the two personality it's so it's stressed for your it's

it's there's a people at cause it's a it's a conservative it's an

affair and it's it's like oh yeah because I'm because I'm

at me you're not on the internet and I'm comforted with my sexuality

and I'm you know even you know I'm a bit sex work adjacent, even if I'm not really in the sex work, all of a few of a reflection

on my capacity to teach a course, to appellate the quality of my research, you know, that I've made of the work rigorous. And then,

I'm the impression that it's really desuets as perspective because it's this, it's really, you know, because that,

because, you know, I mean, you know, it's pretty on the resistance, you know, abolish certain systems who are oppressive. You do not have a lot of students

straight, of all the same? I have many. I have many. I have many who are who are very engaged, very interested. Is that they're trying to pogny on these dates or?

Not, not, not, there's really a good vibe, and there are, and there are who, there are who, they've been also who they were confronted they were

they're very confrontant like that it's very confrontant the things that I'm because it's confrontant

it's not you know I'm going to you know because it's also and I'm and I'm

about that it's, it's these that they they're who they're they're

a mom they're a mom, they're a no, but even but they in the

patriarchas it's not good for them they're not they're they're they have

they do have ag you know, in a manner masculine that's dictated by like an egemony,

a masculinity, which makes, he's not, it's like, totalized, you know, it's like, it's like,

it's like, it's like, it's an bo-encompassing. I've got to say, but it has been,

it's not, it's e-emone, it's not, it's like, it's so, it's like, it's so, it's so,

it's-gmonic, all that J-1 But it's that, no, I have many them,

yeah, yeah, they're not after the course of Paul, for example. No,

no, we're not not not, we're not, they're not, they're that they're

that, they're still, I think, they're in a milieu in the in which they

are not they're not they're not they're not to start to be to the same manner

than at the exterior of the studio, Or is that, yeah. It's interesting, to have a group of of men, six,

in a course of Pol, and try to pognizze, you know? You'd be a job, I'd like that. You'd have organized that for the next sexer in a cabaret. A-voort?

Sazon three. Even a course, you know, of dance historian, like, I'd say, I'd say, I'd say,

I'd say, you don't, that we dance freestyle but that you talk of the woman, of just the power,

and then that it's going to give more more of more of the force to dance and to let's see to go.

There's there's a year, you're like you know? Well, yeah, totally.

In the fact, I've made a performance for a fundraiser for the tallon-foo who is a

super, a duo that's who fond of the theatre with the pole. And we've made a fundraiser and a fundraiser that's a little bit

more adult, and what I did, I've done one of my discours, one of my lectures, one of my course with a diaporama and all the kit, the monsterous feminine

in dancing. But it's that. It's so I'm full-thrippant and it's that I'd do what I'd like so I'd like to learn a course at a university in time

that's on New Sloan. Oh, the rave that's that the course be able to

that's a course would be a course that would be used over the artists

practicant who are in the performance, the people who are in the dance

that's contemporary more the dance contemporary any part of the dance no

any part of all to understand to understand how that the dance can

be a an an an to resist to resisted against the system

oppressive. It's been quite time that you've accepted to more doing the dissociation

between, let's say, monaltair ego and your real... Honestly, I'd say it's not

so long than that it does have two years. Okay. It's has been

that you feel like to get to get the two facet of let's? Because

I've It's a little bit of faith in the milieu academic

university the milieu research theoretical, theoretical and the capacity to really

have an impact concrete. I think that, we call that a tour

of the world, not for a thing, often the ideas circuls

only in the tour of and it's these ideas that

circuls between researchers, and from academic, and it becomes a bit,

I call it a circle jerk sometimes. It's very theoretical, but there there's a practice,

you know, it's put it in practice, you know, it's to start to that to the

Tower of So, so it's really, in having, in, really,

in having a, a, a, of the milieu university or the

fact that I circulate in, how I do you do for circulate in a

milieu that's contribute to maintain certain systems oppressive. And what

that's what that in being a professor that in this system, in

the place that, that I that I catch actively a part

of me for just to maintain my position to sign of this institution that I'm like that you're

too, we've got to choose these battles in the sense that your course is a it's,

it's that we're not not, how you said we're not not totally not change the world

but it's that's it's so, it's so, if we're not to be the fire but you

but I understand there's plenty of well I search my I'm going to say, I've

put it in my heart that's on the heart that's on your own it's more you know, there's

I'm not what I'm doing the word it's not it's not it's good, it's good

to have said all this all that all right all these words, she's she'll talk

more than I in the end of grossness it's same, but

it's contradictory to to your values so it's it's that it's that you're

trying to try to do something but you do crime, it's, there's a quack that, it's,

it's true, it's really plat, the contradictions, it's only I'm trying. It's the question.

It's just I'd say, I'd say, I'd say, but it's like to maintain a position, you know,

my little security of my position in the system university, and, you, it's,

it's like, I'm, I'm, what I'm really, change the things, is,

is, to, a school in university has so an impact than impact than that on my

students, or is that to teach to teach because it's really practical. Yes, the course

that I'm there's a university, there are there's a there, you know, there's the light that

it's like, wow, okay, I see some I'm interested and I'm there's an impact. It's some

grain that but that after that so it's that, it's that. to talk to talk to

it's really a job important but I'm when you're in the tour of I'm you know

you don't know he's not he's not he's a party and he can't call to his family and he

allume to my that's I'm not I'm not reconcilier these two things

let's say and the do it and do do you do you do do you do do you do

because you do it's that has to have an impact your course on university yeah

it's sure that you can have even more impact versus on the social Is it in

fact of the education by this platform that? Well, I will, I'm going

to be a little plus there's the next phase of the reconciliation of my

two sides. But my platform on Instagram by example Sonia Sloane it's not

really a page of poll. You go not on my Instagram to learn to learn

to learn to be inspired and like, okay, I'm going to reproduce that in the studio, because all my captions, all the discourse

that I'm trying to dance, but I'm in trying to talk to policy, I'm trying to talk to social, I'm trying to talk to do neoliberalism

and how it's to impact your car, and, you know, it's pretty that. How the fact that I'm shadow

band all the time, confirm just that you have a power systemic, you know, and persistent of the woman

who is sexual so. So, so it's that, and I'm in trying to develop a

sit-web, well, where is the course that I'm that I'm think, they're pretty

theoretical for those who are interested at cause of their practice of dance, to, like,

creus a bit more, like, why I'm sure, you know, what the

discourse scientific, philosophic, the history that's behind that, as you demanded at

at the beginning to know that's to know to say it's like it's like it's like

to be like 15, 20 minutes or what you can't understand at the certain

discourse that perhaps the society how the how the society has been to have

these ideas that about of the sex and do you can you can be

a little a bit of this part that it's that I'm interested

why where it where it where it where it's it's it's it it's part

in the Occident, you know, we're primarily of a discourse occidental

because there's a certain, you know, it's the discourse dominant, the discourse

occident at cause of the colonization. It remount like, in my

course of the monstrel feminine, we're remount just to Aristotle,

you that the woman is a man a man malformed. A

Two-person, you know, to Tertullian who said that was a prophet, not a prophet, but a church father. Excuse me, I'm asking that in English, so, sometimes it's difficult for me to switch it immediately.

You know, an patriarch of the church, at the 3rd century, if I remember, who said that the woman was the gateway to hell.

And so, and his car was the gateway to hell. At the port of the hell. The port of the hell. And, you know, and then,

and even like in Egypt, the first, one of the most old old papyrus of medicine

about how a uterus that is not utilized, flotte in the car, so, and cause

plenty of problems, you know, cause, entre out, the hysteries, you,

that, the hysteria, it's, it's, it, It's just the moe

that's associated to the uterus hysteria. And that continued just

very long in the discourse medical that an uterus that is not

used, it's a uterus that is an uterus is not married, it's the

women who have not the sex, so they're hysteric at because

that the uterus promen in the car and cause the problems. I hate that, that we're afraid of us to even. But it's really... The chaste

on the sorcerer, in 2005. It's even just the myth of Medeuse, by example, which is castratriss, she, she,

she, she, a change the men, Medusa, it's the head of the serpent, that, it's that,

in the tradition of the tradition. She has castratrists, it's castratriss, because the men, in the women,

medes. They devine petrified. They they're literally, you know, in pierre, you know, and she, and she, and she, she, and she, she, and she's, it's her own chathement for having been violated by a Jew Greek in the temple of Athena. So, it's

Athena who has changed in monster. So, so, like, who, I think it's interesting that's, that's a goddess who is the chattiment patriarchal on one of his servants, you know, and she's, and she, and she, and she, it becomes Medeuse

in the myth of Medeuse so it's just these stories that's just that they persist that they find that it

it's it's true in the collective inconsient I'm like to be like to an interest it's not the

first time that I get an interest that's point the end of that I'd like that I'm

like I'm like you're all the stories that it's still interesting Well, that's, Publiated my course,

you know, in form of the book, that would be my, there's a new there. There's a note who, at the time

of the reform Catholic, you know, when there were the Catholics and the Protestants who were, or the

church protestant that were to the church Catholic, who is devenu protestant and,

the reform. In the north, there had a lot, there had a culture of image, of image that circuled

that were just them in these women in these positions sexual

very explicit sort of the women who letcher the vulve by a

dragon is the demon, in the for just to contribute to the

power of the sorcerers and the sorcerer it's really

the fair sexual that lache the the glee the demon and who copule with the

demon and that's circuled and the world you know it's a porno that was

permise because she was under the voile of propaganda anti sorcerer

I adore there's there's it's totally it's philis it's the

amourous of Aristotle the grand philosopher and he's in trying be all new and is sitting

and he's on and is on trying to it's on trying to it's on and she's she's in a bridge and she's it's like she

it's in control and it's really for far to make a look, look a woman that's a design, it's a

design, yeah it's a design it's a design it's a print not that you don't the too of power

because she will bring a control on you but it's that because that this home that

even the the most intelligent the most enlightened the world the grand philosopher

Aristotle that his his logic has been corrompue by a woman, by the sexuality of a woman, their own. It's good.

It's continued to even, just as to, you know, just as well it's still the same. It's like, you know,

it's all the discourse, the podcasts masculineists, but in the same time, it's they are a bit

to know past, but don't, I'm we, okay, my chum, when he wants, you know,

when I want when I want something, he's like, he's like, make me a pip, I'm okay, perfect.

I'm going to say. They're saying, you know, they're trying to find a good fellation. He's like, okay, they're, like, oh, okay, they're, you, like, you know. Yeah, it's, you know, it's, it's their problem, like, call. Is that sure, I'm going to serve in my power of fellation, you know, you know, it's their problem? It's a pair of refuse, to be, to be refused. It's a pair of being, it's a pair of being, in the fact.

You know, Margaret, you had to say that, it's a lot of sense, you know, the old adage, that the men have that the women are that they're afraid of the

people are to be able to get to be a man that's a reality, you know, but to be,

there's a more, you know, that's a more serious consequences. Tue or Rire. But I

think that it's, it's it's maloure to, you have attention to not say,

oh, the people, because if we can be able to be to, to

accue or that the men can understand also at how that these

issues are in their impanuism in as person, their epanouism in their

relation, the intimacy their amitia you know, this fear that of the

feminine that corrupt that to pleurry that, the Depressions. To give a coll

to chum to guy, and to say, you know, to say, you know, to say, you know, there's a lot of

depression and of suicide. Well, yeah, I've used that, and it's true, it's true, it's true,

it's true, it's true, it's true, it's true, they're not, they're not of their emotions on the guy,

I, I'm, I'm, you, and let's go, and, you, it's rare, the moments of vulnerability, and we, and we're

in the future, and we're in the office, and, you, it's sure that if we can't be able to be vulnerable

any part of any other people as a woman so yeah it's just for them it's really trice

and it's the world would that would be able to be able to be it's a man to

job yeah yeah but I think at all I think it's at all that's

anybody who it's that's people who has been to adder to certain

norm that dicted what the genre feminine, the genre masculine or, because, you know, if we're like, you know, we're associes, it's

someone who's a penis, you know, and someone that's super heteronormative, and you know, you know, it's sort of that. But it's just

because of that, you know, the idea that you have to adder to these, to these comportment

that, it's, it's, it's, it's, and then we're not not quite, that it's, it's not

because there there are there, there are, there are the privileges, that are in the norm A in the society,

in adhering to these norms of genre are not more interesting than the alternative or maybe it's like that it's like that

we're, you know, there's not grand in any I'll end up, well, it's that,

the advantage, is what, to, to, to, to adder completely to a, a model

of femininity who is completely submiss, that's no longer that's not an assume I don't know

if it's I know if it's I know there's like with the tradwears and there there's like a resurgence

of this desire that but that I think it's more you know there's people who have a

blind spot over the capitalism it's not the genre that cause this sentiment of oh no

I want just rest to stay at house, and do you know, that's because that's a cause that a system capitalist

has said that you'd have said that you were like to work and to work 40 hours and be a girl boss. It's sure that you would say, fuck that,

I'd like that, I'd be more to rest the house and be a family traditional, you know? We don't know the enemy, in any way.

It's just familiar. I think a good balance, you know, it's sure that the work is,

I like that to be at my own to do do you have to do do you have to and do you like to work when I'm out

it's like my confidence a fearty and then when I get to come I'm afraid also because my menager

I've made so I think that it's just to have a good balance and there there are there people

who want just just rest in my own and they're not just because I'm so I'm I'm just

I'm in the Mesares and tabarwet It's a job in tabarwate. My day, Mama, Mason versus my

Jornage to complete. Like, it's so, it's really tough at my mom 100%. Yeah,

but there are who like me that more rest, and there's that's just to be able to be able to

want to and to choose. To choose. And not that's not that not to be

not to be not to be that you so, that it's that it's you know, that it's

you know, that's all you're all to look at with the nuance, you know. I have, she has had a mom at

the house, she she's, she has said, for real, she's, she has tried my,

fact, there's a day in the time that I go to work, and that's she'll do other things,

she, she, she, she, she, she, she'll have a good, a, a, a, she,

she, she, she, she, she, she's, to, she, she, she, to, she, it's,

to, also, that, And there are some who are also who can't even not be able to get to be

there's a lot of there's a there's a there's a there's a so that's it's a lot and there's

people who are there's not to have three four, four children, there's a there's a well there's

there's a carterer, it's a car, you know, it's a food, you know, it's a lot of place,

it's so, and it's difficult to find, it's, it's, there there's plenty of there's, there's not

there's not a there's not a way there's a kind of particular. It's that I think an aderance

a little bit more severe that we see in this moment to masculine. That I think is maloure

that it's that's so is that. Is that you'd be at least to rest with us

a little 15, 20 minutes of plus on we'd ask you absolutely.

Thank so. Tellman Vanessa Sonia. There's a bit more a hour?

We're I was going to have an hour and 20. Aright, because I had another question that's important. I'm going to ask you to have been able to be able to be able to because there's questions of the people, but I know,

I know about, I know about, I know about, I know, I'm talking, the war, that, who is between street dance and dance pole. Oh, you'll say

like, the, the, the work of sex in the club? Yeah, there was, like, I was, like, related, on, we'd say, I'd say,

I'd say, I'd, you'd say, that's it was really not, can you talk about that? I think not that you

think not there's a question, but there's a responsibility over the poll as industry,

to recognize and to assume and be very vocal at about the racine in the work

of sex. It's sure that the poll is the genre of dance, it's the

form that we associate immediately to strip club. So it's sure that when all of a

time you make that in a studio, you monetize that, you put that in a

space privileged where is that people pay for the way, that all the regards

are being so, it's empowering yeah, okay, yeah, okay, we,

it's empowering, but, you know, it's, it's got to get in the

head that it's endetted to the work to sex. And the work

of sex, it's not necessarily empowering. And, How many times at all the years I have

at all the years I'm going to say okay I think I'm ready to go to go to

and I'm and I'm okay why why if you're your choice I support

there but think not that the yay girl yay queen will you're

in the club when you go when you don't it's not that it

will be it's it's it's transactions, you know, we'll treater not necessarily very, very very well, it's, it's, it's, it's, it's all that. So, it's, and it's, and it's, and it's,

and it's, and it's, and it's, perhaps not a milieu, where is the, like Alice said, she, was, they felt, acqueyed in this milieu, and then, and Alice, had also had made a good point that, she, she didn't, that she's, like, you know, it's like, the pole dance of the cafe.

And I've talked to my friends who are working of sex and I'm a lot of people who are

a lot of time that's been long time. And the poll is not in the context of the club,

it's the stage and it's not necessarily just that. The work of sex is really the

vance that you have that you have to make your money, it's the discussion

that you have with the client, it's the intimity that you create with the client,

it's the care work that you do carework that you do care work the work the work, the work, the work,

it's the dance private that you do you know, and other things private, and other things private, and all of that.

And all the issues that come with that, it's the fact that you have a danger, a very

danger that's also. So, there's more, the the milieu of the work of sex,

the, the, the feet that dance, they want that there a, a,

a, a, a reconnaissance, of that in the studios of Paul and I think it's important

even when the people like I when I'm when I'm when I'm like I'm like I'm

like I'm like I'm like I'm recognize that the type of dance that we're in this moment

in a milieu security and with a lot of support it's endetted

to that it's endate to sex and then don't forget your sisters right it's important

to recognize that, and to support the workers of sex who ensign the poll also. I think also

that we need more of this conversation because, I'm talking a lot, and I talked a lot of my, who were my

students of poll, who have the transfer in the clubs, who we're to start, and how it's

to ensigned to the poll also. We're on We're talking because we're going to be

the nuance now because the conditions are changed. Now, the pipeline

of the studio of pole at the club, the girls who have

started to do the dance in the religious of the studio of pole

are the choice to go in the middle the club when

the work of sex. There there there's a nuance

there there a privilege with this choice to go to an milieu of

privilege to a milieu marginalised and at how point that it has made a nuance

also to the conversation that we don't there, but I'm not a summit like I'm

sex workers and poll dancers and all that for to power to be

for power more but it's sure that the studios of poll do have

always mean with with the reconnaissance that that is end upteteed

to work the workers of sex. The Traveeus DeVille, Bobby, Fania Dietrich, that's the

history of Paul, Tammy Morris, it's all these ex-danceoes who have opened these studios

of Paul at their retreat. And it has made these baby pollers, me being

one, that's so, so, so, so, so, so,

so, and, And then the workers of sex who ensign the poll also, you know, if you're going to choose

a proff with who you want to be to think, to be able to encourage a woman who do you do

work of sex? And if it was more more encodered the bar of dancefeus and it's a little

plus because I don't know that there really of the contrary, it's, I think there

there are these men who are not capable to have of the sexuality, who are not, who are the desire, of the intimacy,

of the intimacy, of the compliments by a new woman. Absolutely. So, so I, I think it's,

it's a lot and they're out of a little bond in their car, so, and the Alice, that I know,

it's that she said, it's, it's been sometimes, to know that the client, he resour,

and he resour, and the confidence that it's just, like you say, it's the milieu dangerous, if that, there had an,

a, like, a, a, that it was really more encodried but Tavarweb, there would be much,

much more advantage, and a lot more more of them that would be more... It would be... It would,

it's more secureter, more respected, and that, it's a single thing, because it's really, like you say,

and Alice, she has an article very, very well, that's the care work, there. The travel

of sex, at the base, it's a bar to care work, it's, it's, to, And then, it's stigmatized

at cause that we see even with derision. We judge a woman who vans, in a transaction that vans, her sexuality, her capacity sexual, which should be reserved only to a partner

in the couple heteronermative or for the reproduction. Other than that, you know, you can't be respected. That's the, it's my bullshit, you know, the second that it's decriminalized that the people are protected, that we see that as a real work, and it's a good job, and it's a thing. It's a thing to take care of the world,

that the regard malveying of the client will become bienveillance, and will appreciate the transaction. because so far the transaction it's, it's been it's been a regard

maleveillance but that it's a change on the level of the society and the culture and the conversations of the same

are important for that for that people can have never view that I've never view of

when you're going to have a new eye yeah yeah typie tabawette Mac

Space and you get there to get there type tabouette that's that's so and bien

yeah thank you thank you thank you thank you thank you all the long. I was like that.

I was looking I was there. It was really beautiful to have to go out and in all the good inspiration. Really.

Thank you very thank you. Thank you. Thank you for permit to have some the same it's really important.

It's, it's, it's, it's, it's, sometimes it's like some of the things that you know that you think, but

to have some the rappel on the everyday, it so we're on it's on 15, minutes

we have Plenty of questions. Okay. But, but before I have to get to pee-pipy. Yeah.

I mean, I'm okay. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sure. Welcome to the

platform official Patreon Sex Oral. I'm there. I'm right. I'm going to do. What's you

can't attend on on our platform Patreon? It's the show in live that we've never

ever ever that you can't that you can't be able to you can't be able to ask for for the

people who can't be a podcast by me sometimes it's some live. Sometimes it

will just be we here who jammed. After the podcasts, after the podcast we're able to

have been able to get on on the TV for filming the after show. The annons at the advance,

the bitty, some of the access to live. The pre-impose you choose like whatever, we're

we're very thank you a great difference for sex oral. It's something grandis, it's our

baby, we're we're very we're happy, we're content. Yeah. And thank so, enormously.

a production of the studio SF.