Anna Smith Higgs was just 24 years old when she suffered from a stroke on Christmas Day in 2004, just a month after the birth of her son, Henry. Devastated, she would spend the next five months in the hospital and begin learning how to walk again and function with only the left side of her body working.

While navigating her “new normal,” depressed and afraid of doing something “wrong” and bringing on another stroke, she confined herself to her bed for months and months — until she realized that wasn’t living. But, life opened up, and she began to heal in a new way when she found burlesque — and would go on to perform at the prestigious Burlesque Hall of Fame Weekend in 2023.

Her story is one of a few Corte Madera filmmaker Susan Wolf highlights in the new award-winning documentary entitled “Learning to be Naked: Healing Through Burlesque.” Some of the other featured burlesque dancers are Eileen Wright, an amputee and breast cancer survivor who found burlesque has helped her embrace her scars, prosthesis and herself; Black nonbinary performer Mx. Pucks A’Plenty, who advocates for the continued diversity of burlesque; and Viola Panìk and Mister Punch, who will take part in a conversation with Wolf about the film she directed and produced after a screening at 1 this afternoon at the Smith Rafael Film Center in San Rafael.

Admission is $13 to $15. Get tickets at rafaelfilm.cafilm.org/learning-to-be-naked.

Ahead of the screening, Wolf took the time to reflect on the film and burlesque.

Q How did the idea for this film come about?

A It was a very organic process. When we were working on the Mata Hari film, one of the people who was helping us find talent for the film was involved in the burlesque scene. As a trade, we started shooting some burlesque shows and festivals for them. I didn’t know anything about burlesque. I had all the common misconceptions about burlesque: that it was exotic dance for men, and maybe a little bit sleazy.

All of that proved to be completely wrong. It’s really dance that’s performed mainly for other women and femme-presenting individuals in the queer community. It’s very much a personal expression and performance art. We had been getting to know various performers. And what really interested me was why did these performers choose burlesque? And that really became the focus of our film because the common thread throughout was they all found burlesque to be very transformative, and it changed their lives on so many different levels. The stories were really powerful.

Q Did the vulnerability these performers had onstage translate to the film?

A Every performer in the film had to go and do the work to really accept themselves for who they are mentally, physically, and emotionally. Viola Panìk’s motto is “learn to be naked and then get dressed.” And that was the inspiration for the title for the film because I think her model encapsulates burlesque. It’s not only about taking off your clothes, but it’s also about taking off the mask that we all hide behind and exposing yourself mentally, physically, and emotionally. And the performers, once they go through that process and deeply accept themselves and have that confidence to get onstage and be vulnerable, they can connect with the audience and you really feel that. I think that translated into them being open to sharing their stories with us on film, which is not an easy thing to do. I just have all the respect and gratitude for each of them.

Sometimes when you go to a burlesque show, there are performers who haven’t done that work, and you can feel it. They’re not really connecting with the audience because they aren’t really connected with themselves. It’s not about having the most beautiful body or being the most talented performer. The performers who are really charismatic and really own the stage are the ones who have that presence, who’ve done that internal work. And you really do feel that.

Q What else surprised you about burlesque?

A The healing aspect of it and the transformational aspect of it were surprising, but also just how important an art form it is. I think in the bigger perspective, art reflects culture. Currently, toxic masculinity and the patriarchy are on the rise in our sociopolitical environment, and our culture is promoting oppressive gender roles and racial stereotypes and seeking to control the expression of sexuality. What I love about burlesque is that it is about the performers expressing their own sexuality in any way that they choose.

And I really think it does raise a question: Can we change ourselves by changing what we make? I think burlesque is one way that offers the possibility of doing that because it challenges stereotypes by embracing inclusivity, body positivity and sexuality, and just celebrates our common humanity in all its diversity. Entertainment is a great way to initiate change because when people are enjoying themselves, they’re more receptive, and these kinds of messages can get through.Q What have you taken away from burlesque as an art form?

A In burlesque, the performer creates the dance, designs and often makes their own costume, chooses the music and does their own makeup and hair. They do everything, and it is a very personal act. At a dance performance, the audience is quiet and applauds at the end of the piece. In burlesque, the audience is enthusiastic and cheers and claps throughout, giving each performer a lot of support. It’s a lot of fun!

Q From exploring the life of Mata Hari to the world of burlesque, have you seen a shift or any more acceptance toward these topics?

A The thing that surprised me about Mata Hari was that she lived over 100 years ago, and she was a very independent and sexually free woman in a time when that was not the norm. She absolutely lived her life unapologetically. But, now, women are still dealing with a lot of the same issues, obviously not to the degree that she had to experience, but still there’s a lot of pressure to conform to these societal norms that try to restrict women’s freedom. We’re still in the same struggle for women’s rights and women’s freedom in many different ways.

However, Mata Hari gained freedom and fame through her exotic dancing, and in this way, she came into her own power. Today, burlesque dancers are part of that long history of women who challenge societal norms and claim power for themselves.

Q What’s your hope with the film?

A One of my goals for the film is to share it with as many different audiences as we can and to hope that it helps people be more open-minded and change some of their misconceptions or their perceptions. I also think it’s very empowering for people who are just owning all aspects of themselves. Our film reinforces the idea that every person is worthy of visibility and admiration. I’m very proud that we have representation in our film. This is a very big part of burlesque: inclusivity and diversity.