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Flatulist
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A flatulist, fartist, fartial artist, professional farter or simply farter is an entertainer often associated with flatulence-related humor, whose routine consists solely or primarily of passing gas in a creative, musical, or amusing manner.[1]
History
[edit]There are a number of scattered references to ancient and medieval flatulists, who could produce various rhythms and pitches with their intestinal wind. Saint Augustine in The City of God (De Civitate Dei) (14.24) mentions some performers who did have "such command of their bowels, that they can break wind continuously at will, so as to produce the effect of singing." Juan Luis Vives, in his 1522 commentary to Augustine's work, testifies to having himself witnessed such a feat,[citation needed] a remark referenced by Michel de Montaigne in an essay.[which?]
The professional farters of medieval Ireland were called braigetoír. They are listed together with other performers and musicians in the 12th century Tech Midchúarda, a diagram of the banqueting hall of Tara. As entertainers, these braigetoír ranked at the lower end of a scale headed by bards, fili, and harpers.[2][3]
An entry in the 13th-century English Liber Feodorum or Book of Fees lists one Roland the Farter, who held Hemingstone manor in the county of Suffolk, for which he was obliged to perform "Unum saltum et siffletum et unum bombulum" (one jump and whistle and one fart) annually at the court of King Henry II every Christmas. The Activa Vita character in the 14th century allegorical poem Piers Plowman appears to number farting among the abilities desirable in a good entertainer,[4][5] Trotter quoted a Latin extract from the Liber Feodorum or Book of Fees in which the word was used; "Roland le Pettour had to perform the service of bumbulum[i] to the king on Christmas Day in order to have the right to hold his land."[5] saying: "As for me, I can neither drum nor trumpet, nor tell jokes, nor fart amusingly at parties, nor play the harp."
Seriantia que quondam fuit Rollandi le Pettour in Hemingeston in comitatu Suff', pro qua debuit facere die Natali Domini singulis annis coram domino rege unum saltum et sifflettum et unum bumbulum, que alienata fuit per particulas subscriptas.
Translation:The following (lands), which formerly were held of Roland the Farter in Hemingston in the county of Suffolk, for which he was obliged to perform every year on the birthday of our Lord before his master the king, one jump, one whistle, and one fart, were alienated in accordance with these specific requirements.[6]
In Japan, during the Edo period, flatulists were known as "heppiri otoko" (放屁男), lit. "farting men."[7]
The term He-gassen (屁合戦), "farting competitions", is applied to Edo-period art scrolls depicting flatulence.
Notable flatulists
[edit]- Roland the Farter, flatulist in the court of King Henry II of England
- Le Pétomane, performed in France from 1887 until 1914
- Mr. Methane, born 1966
See also
[edit]References
[edit]Notes
[edit]- ^ Brown, Garrick H.S. "Le Pétomane: The Strange Life of a "Fartiste"".
- ^ Collinson, Francis M. (1975). The bagpipe: the history of a musical instrument. Routledge. p. 73. ISBN 0-7100-7913-3.
- ^ Fletcher, Alan John (2001). Drama and the performing arts in pre-Cromwellian Ireland: a repertory of sources and documents from the earliest times until c. 1642. Boydell & Brewer. p. 468. ISBN 0-85991-573-5.
- ^ Peter Meredith (January 1998). "The professional travelling players of the fifteenth century: myth or reality?". European Medieval Drama. 2: 21–34. doi:10.1484/J.EMD.2.300900. ISSN 1378-2274. Wikidata Q120746236. "Archived copy". Archived from the original on 2012-07-14. Retrieved 2010-01-09.
{{cite web}}: CS1 maint: archived copy as title (link) CS1 maint: bot: original URL status unknown (link) - ^ a b Wright, Laura. "BUMBULUMMERY: A CHRISTMAS TRADITION THAT YOU WILL PROBABLY NOT WISH TO REVIVE". Anglo-Norman Dictionary.
bombulus rumbling, breaking wind (cf. bombus c). 1250 serjantia que quondam fuit Rollandi le Pettour ‥ pro qua debuit facere die Natali Domini singulis annis coram domino rege saltum et sifflettum et unum bumbulum Fees 1173.[translation: The sergeant who was once Roland le Pettour… for which he had to make a leap and a whistle and a single fart every year before the king on Christmas Day, 1173.] Dictionary of Medieval Latin from British Sources
- ^ Liber Feodorum. The Book of Fees, Commonly Called Testa de Nevill, Part 2, A.D. 1242-1293. Pref. H.C.M. Lyte. London: His Majesty's Stationery Office, 1923. p. 1174
- ^ "放屁男". Nihon Kokugo Daijiten (日本国語大辞典). Shogakukan.
Further reading
[edit]- Valerie J. Allen; Broken Air Exemplaria (2004). ([1] PDF version)
- Jim Dawson; Who Cut the Cheese?: A Cultural History of the Fart (Ten Speed Press, 1999)
- Steve Bryant; The Art Of The Fart
- G. Ramsey; A Breath of Fresh Air: Rectal Music in Gaelic Ireland in Archaeology Ireland Vol. 16, No. 1, pp. 22–23 (2002)
Flatulist
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Definition and Terminology
Core Definition
A flatulist is an entertainer whose routine consists primarily of flatulence-based performances, often involving creative, musical, or amusing manipulations of fart sounds for comedic effect.[7] This practice centers on the intentional control of abdominal muscles to produce varied emissions, distinguishing it as a specialized form of bodily expression rather than incidental humor.[2] Unlike everyday flatulence jokes, which rely on spontaneity or verbal wit, flatulism demands professional training in physiological control and performative timing to sustain audience engagement on stage or in public settings.[1] Practitioners elevate the act through precision, transforming a taboo bodily function into structured entertainment that highlights human physicality.[2] As a niche performance art, flatulism humorously navigates cultural boundaries around physiology, with roots traceable to early exemplars like the 12th-century English court performer Roland the Farter, who was compensated for his flatulent routines before royalty.[2] This form persists as a rare but enduring subset of vaudeville and variety arts, emphasizing skill over vulgarity.[1]Historical and Variant Terms
The term "flatulist" is derived from the English noun "flatulence," which entered the language in 1711 as a borrowing from French flatulence, ultimately tracing back to Latin flatus ("a blowing" or "breaking wind"), the past participle of flare ("to blow").[8][9] The suffix "-ist," denoting a practitioner or specialist, was added to form "flatulist," a modern English coinage referring to an entertainer who performs using controlled flatulence, with earliest documented uses appearing in the mid-20th century in discussions of historical and contemporary performers.[10] This terminology reflects flatulence as the expulsion of intestinal gas, a natural bodily function, but elevates it to an artistic context.[8] Variant terms for flatulists have proliferated across languages and eras, often blending humor with descriptors of the performer's skill. In English, alternatives include "fartist," a portmanteau of "fart" and "artist" popularized in the late 20th century for musicians and comedians using flatulence in routines, such as the British performer recognized by Guinness World Records for his career longevity.[11] Other informal labels like "professional farter" or "fartial artist"—the latter a playful nod to martial arts discipline—emerged in vaudeville and variety show contexts to emphasize the technical proficiency involved.[2] In French, "Le Pétomane" translates to "fartomaniac," combining the verb péter ("to fart," from Latin pēdō) with the suffix -mane (as in "maniac"), a name coined in the 1890s for stage acts in music halls.[12] Medieval equivalents were more direct and crude, rooted in Old French. Terms like "petour" or "fartere," meaning "one who farts," appear in 12th-century records, such as those describing court entertainers obliged to produce sounds on command.[13] Additional historical terms include the Old Irish "braigetóir" for professional farters in medieval Ireland and Japanese "heppiri otoko" ("farting men") from the Edo period. These evolved over time from rudimentary, bodily-focused descriptors in feudal Europe to the more polished, profession-oriented labels of the 19th and 20th centuries, coinciding with the rise of formalized entertainment venues like vaudeville theaters, where flatulence acts gained structured billing.[3][1]Historical Development
Medieval Origins
Flatulism emerged as a form of court entertainment in 12th-century England, where performers known as flatulists served as jesters to provide humorous relief amid the formalities of royal gatherings. These entertainers incorporated bodily humor, including controlled flatulence, into their acts to amuse nobility and break social tensions in feudal courts.[3] Early documentation of such practices appears in historical records like the Liber Feodorum, commonly called the Book of Fees, compiled in the early 13th century but referencing grants from the 1160s onward. This survey notes land holdings awarded in exchange for annual performances, including flatulence displays, as part of serjeanty obligations—feudal services rendered for tenure. For instance, one entry describes a holding tied to "one jump, one whistle, and one fart" performed at Christmas court.[14] In the context of feudal entertainment, flatulists blended crude physical comedy with the duties of serjeanty, where entertainers received land grants for specialized services to the crown, reinforcing lord-vassal bonds through ritualized humor. This role highlighted the integration of lowbrow bodily functions into high-status settings, providing levity during seasonal festivities like Yuletide. A representative example is the performer Roland le Pettour, whose annual act exemplified these obligations.[2]Revival in the Modern Era
Following the decline of flatulism after the medieval period, which was attributed to evolving court customs and the emerging cultural hierarchy that separated elite and popular entertainments in the 19th century, the practice saw a notable revival in urban performance venues.[15] This shift reflected broader societal changes, including the transition from court jesters entertaining nobility to stage artists appealing to diverse audiences in public theaters.[16] In late 19th-century France, flatulism re-emerged prominently in music halls, where bodily humor provided accessible, low-cost entertainment amid rapid urbanization and industrialization. These venues, catering to working-class crowds in growing cities, capitalized on the comedic potential of flatulence to evoke laughter through exaggeration and relatability, countering the era's increasing social taboos around bodily functions.[16] Key events included regular flatulism performances at the Moulin Rouge cabaret from the 1890s through the 1910s, which drew large audiences and helped legitimize such acts within the burgeoning variety theater scene.[15]Performance Techniques
Physiological Control
Flatulence arises primarily from the fermentation of undigested carbohydrates in the colon by gut microbiota, producing gases such as hydrogen, carbon dioxide, methane, and trace amounts of others. Foods rich in fermentable oligosaccharides, disaccharides, monosaccharides, and polyols (FODMAPs), like beans and dairy products containing lactose, significantly contribute to increased gas production. Healthy adults typically produce and expel between 0.5 and 1.5 liters of flatus per day, often in 10 to 20 episodes.[17][18][19] Flatulists develop voluntary control over this process through targeted training of the abdominal and pelvic floor muscles. By contracting the abdominal muscles, they increase intra-abdominal pressure to propel gas toward the rectum, while precise manipulation of the external anal sphincter—a skeletal muscle under voluntary control—allows them to regulate the timing, duration, and intensity of expulsion. Some flatulists, such as Joseph Pujol (Le Pétomane), trained to inhale air anally and expel it without odor, enabling versatile sound production beyond natural intestinal gas. Breath-holding techniques further aid in accumulating gas in the rectum for on-command release, mimicking the defecation reflex but isolated to flatus.[1][5][20][21][22] Excessive practice of these techniques can lead to health risks, including chronic bloating from retained gas.[23]Artistic Presentation
Flatulist performances are structured to captivate audiences through a blend of humor, timing, and sonic variety, transforming a potentially crude act into a form of theatrical entertainment. Routines generally span 5 to 10 minutes, incorporating sequences of controlled emissions that vary in pitch, rhythm, and intensity to produce rhythmic patterns or imitative sounds, often building to climactic moments for comedic effect.[1] Stage elements play a crucial role in enhancing the presentation, with costumes such as formal suits or themed outfits used to underscore the performer's persona and add visual flair to the act. Lighting is strategically employed to spotlight the performer and accentuate key moments, while amplified sound systems or acoustic techniques help project and clarify the emissions, creating an immersive auditory experience without relying on additional effects. These elements amplify the inherent physiological control required for precise execution.[1][25] Common performance styles encompass solo demonstrations, where flatulists showcase isolated sonic feats, as well as comedic narratives that integrate emissions into storytelling, such as imitating everyday noises or environmental sounds for humorous juxtaposition. Musical imitations form a prominent subset, with performers replicating instrument tones—like those of trumpets or woodwinds—through modulated bursts to evoke familiar melodies or rhythms, blending vaudeville traditions with bodily artistry.[26][27] Historically rooted in rudimentary courtly displays, flatulist artistry has evolved into more sophisticated, choreographed productions in modern venues like comedy clubs and variety theaters, where emphasis is placed on rehearsal, audience interaction, and polished delivery to elevate the genre beyond mere novelty.[4][28]Notable Flatulists
Historical Figures
One of the earliest recorded flatulists was Roland the Farter (c. 1160–1200), an English court jester who served King Henry II. Known in historical records as Roland le Petour or Roulandus le Fartere, he held the manor of Hemingstone in Suffolk by serjeanty tenure, which required him to perform annually at Christmas before the king a routine consisting of "unum saltum, et unum siffletum, et unum bumbulum"—a leap, a whistle, and a fart executed in unison.[2] This unique obligation is documented in the 13th-century Liber Feodorum (Book of Fees), a survey of feudal landholdings that underscores the role of such entertainers in medieval royal courts.[3] In the 19th century, Joseph Pujol (1857–1945), performing as Le Pétomane, elevated flatulism to theatrical prominence at the Moulin Rouge in Paris. Discovered during military service for his ability to control abdominal muscles and draw air into the rectum without gas expulsion, Pujol created simulated farts of varying tones, rhythms, and even imitations of thunder or animal sounds, all delivered through a rubber tube for comedic effect.[29] His acts drew packed audiences nightly from 1892 onward, making him the theater's highest-paid performer and earning more per show than contemporaries like Sarah Bernhardt.[30]Contemporary Performers
Paul Oldfield (born 30 March 1966), performing as Mr. Methane, stands as the preeminent contemporary flatulist, having launched his professional career in December 1990 and maintaining it continuously for over 35 years.[31][32] This longevity earned him the Guinness World Record for the longest career as a flatulist (male) in 2025, during which he has developed a signature style involving controlled flatulence to mimic musical pieces and sound effects while clad in a green-and-purple superhero costume.[11] Oldfield's act draws from 19th-century traditions but adapts them for modern audiences through theatrical presentations that emphasize precision and humor. Mr. Methane gained wider recognition through television appearances, notably on Britain's Got Talent in 2009, where he performed a flatulent version of Johann Strauss II's "The Blue Danube Waltz," eliciting a mix of laughter and buzzer stops from the judges.[33] He has also featured on shows like The Frank Skinner Show and international programs, often pushing boundaries with routines such as farting darts at balloons or extinguishing candles.[11] These performances highlight his physiological control, enabling on-command emissions without ingested gas, a technique refined over decades. In the broader landscape of 20th- and 21st-century flatulism, U.S. vaudeville influences from the 1920s lingered in novelty acts, though specific flatulists were rare; instead, modern practitioners have proliferated via internet platforms. For instance, Myron Lefkowitz, dubbed the Foley Fartist, demonstrated his talent in 2009 by using flatulence to generate sound effects for the video game MySims Racing, showcasing how the craft applies to media production.[34] Internet-era performers, including Mr. Methane himself, leverage YouTube for viral routines—such as extended flatulent melodies—that bypass traditional gatekeepers and amass global viewership. Contemporary flatulists encounter significant hurdles from media censorship, where bodily humor often clashes with broadcast standards, prompting a pivot to digital spaces after 2000. Mr. Methane's online channels, with videos garnering millions of views, exemplify this adaptation, allowing uncut access to audiences while evading the edits or bans common in linear TV.[35] This shift has revitalized the art form, enabling diverse viral content from musical flatulence to comedic skits, though performers still navigate platform algorithms sensitive to explicit themes.Cultural and Social Impact
Role in Entertainment History
Flatulism has contributed to the evolution of comedy genres by introducing elements of bodily humor that prefigured modern gross-out styles in vaudeville, burlesque, and stand-up routines. In vaudeville circuits of the late 19th and early 20th centuries, controlled flatulence performances helped normalize exaggerated physical comedy, blending shock value with musical parody to challenge decorum and engage audiences through irreverent spectacle.[12] This approach paralleled the slapstick traditions emerging in early silent films, where sudden, visceral gags disrupted expectations and emphasized the body's unpredictability, influencing later cinematic tropes like the communal flatulence scene in Mel Brooks' Blazing Saddles (1974).[36] Archival references underscore flatulism's longstanding presence in entertainment narratives. As early as the 14th century, Geoffrey Chaucer's The Canterbury Tales featured prominent flatulence humor in "The Miller's Tale," where a character's explosive fart serves as a climactic punchline, highlighting the comedic potential of such acts in medieval storytelling traditions.[37] By the 20th century, trade publications like Variety documented related comedic works, such as the 1992 stage production Le Petomane: A Comedy of Airs, which dramatized historical flatulist routines and reflected their enduring appeal in theatrical satire.[38] In niche performance arts, flatulism inspired the development of fart-themed props and routines that extended its influence into circuses and contemporary humor events. Clown acts in early 20th-century circuses incorporated devices like whoopee cushions—patented in the 1930s—to simulate flatulence for broad, family-oriented laughs, echoing the controlled absurdity of earlier flatulist milestones. Today, this legacy persists in modern gross-out festivals and circus revivals, such as the 2024 Australian production Children Are Stinky, where fart-centric gags celebrate youthful, unfiltered comedy within structured variety shows.[39]Perceptions and Taboos
In Western societies, flatulence has long been regarded as a vulgar and undignified bodily function, emblematic of poor manners and a lack of self-control, particularly during the Victorian era when stricter social norms emphasized bodily restraint and decorum. Etiquette guides and cultural practices of the time reinforced this taboo, positioning flatulence as a source of shame, often equated with moral failing in polite company. In contrast, some indigenous and folk traditions have exhibited greater humorous tolerance toward flatulence, viewing it as a relatable aspect of human existence rather than a strict prohibition. For instance, ancient Sumerian proverbs from around 1900 BC feature flatulence as the punchline in what is considered the world's oldest recorded joke, suggesting an early cultural embrace of it as lighthearted and communal amusement in oral storytelling. Similarly, in various global folk narratives, flatulence serves as a comedic device to deflate pretension or highlight everyday absurdities, reflecting a more permissive attitude in non-Western contexts where bodily functions are less rigidly censored.[37] Modern media has contributed to a gradual shift in acceptance, with shows like South Park—which has incorporated flatulence humor since its 1997 debut—using it to challenge societal taboos and satirize pretentiousness, thereby normalizing crude comedy for broader audiences. Episodes such as "Spontaneous Combustion" (1999) blend fart jokes with environmental commentary, helping to erode stigma by framing flatulence as a universal, relatable experience rather than solely embarrassing. Internet memes and viral content have amplified this trend, perpetuating fart humor in digital culture and fostering a sense of shared irreverence, though censorship persists in family-oriented entertainment where such references are often edited or avoided to maintain decorum.[40][41] Psychologically, flatulence elicits laughter through relief theory, which posits that humor arises from the release of pent-up tension associated with repressed bodily functions, providing a cathartic break from social inhibitions. Philosopher James S. Spiegel argues that farts are inherently funny due to their incongruity—combining the mundane (digestion) with the disruptive (auditory and olfactory intrusion)—while also evoking a sense of superiority over the farter's loss of composure. This aligns with observations that such humor triggers a limbic, instinctive response, offering low-effort joy by subverting norms of propriety and allowing momentary liberation from repression.[42][43]References
- https://en.wiktionary.org/wiki/flatulist
- https://slate.com/technology/2017/07/lessons-on-flatulence-from-a-fart-artist.html