This overt sexualization is symptomatic of a wider porno-ization of western (North American and European) culture and cultural products. To satisfy society's insatiable consumer needs and desires, bodies, especially sporting bodies, have been sexualized to the extreme. We argue that inherent aesthetic values of performative flesh have been lost (or minimized) in recent times which have, intentionally or otherwise, degraded and objectified the naked body. This paper traces some historical and contemporary instances in which sporting and other bodies naked physiques have been utilized to affect religious, social, ideological or political agendas. Finally, I make the argument that by including censorship as a subject within their curriculum, teachers can help students better to navigate the psychological, moral and ethical complexities of contemporary art making. I begin by examining my students’ reactions to some of the themes explored, and then explain how discussing cases of art censorship and controversy can serve as a platform for introducing students to the key role that context plays in how we perceive, value and react to artworks. In this article, I describe my experience creating and implementing an undergraduate pre-service art education course on the subject of censorship. Indeed, despite its obvious importance, the subject of censorship is often given little attention in art education circles, save for when it has already become an active problem, such as when an instructor is accused of censorship by a student, or when forces outside the classroom seek to involve themselves in pedagogical decisions. Surprisingly, however, there seems to have been little concurrent discussion concerning the inherent risks involved in introducing polemical themes within the classroom. In recent decades, the field of art education has seen an increasing interest in issues of social justice and social reconstruction which has led to pre-service art educators often being encouraged to include potentially controversial topics in their pedagogy.
Autor preferuje funkční přirozenost nahoty a odmítá zvěcnělou pornoizaci těla v pohybu, překračující tak již charakteristiky sféry pohybové kultury. V jednotlivých oblastech tohoto kulturního subsystému (sport, pohybová výchova, pohybová rekreace, pohybová terapie a pohybové umění) upozorňuje na různost významů a kontextů dodávajících nahotě smysl na linii kontinua od přirozenosti a funkčnosti přes erotizaci a sexualizaci až k pornoizaci zejména sportovního prostředí. Příspěvek se zabývá tématem v kinantropologii ne zcela tematizovaným, totiž fenoménem nahého těla v prostředí pohybové kultury.
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