Kate Valentine: State of the Union Address
Published on November 14, 2011 by Miss Astrid · 79 CommentsA Note from the Editor
This is a compilation of two speeches given at BurlyCon 2011 by Kate Valentine – creator of The Va Va Voom Room (1997), a contemporary pioneer, and one of the best emcees in the business. As Miss Astrid, Kate has been honoured to host part of the BHOF weekend since 2006.
A number of people returned from BurlyCon in October and contacted me to say how moved they were by this address, and to stress how important they think it is that this speech can be read and discussed by the wider community. It is a bold, intelligent and heartfelt speech that I hope will encourage further honesty, discussion, and development.
I should make it clear that the opinions expressed in this speech are not necessarily shared by myself and 21st Century Burlesque. Some I personally agree with, others I feel merit debate, and I look forward to seeing further discussion of the key issues raised.
State of the Union Address, by Kate Valentine
“There are many things I love about burlesque. On a personal level, it has given me not only an opportunity to perform but an ability to control my performance destiny which is a great gift. Without this specific form of live cabaret entertainment, many dancers and actors are left at the mercy of auditioning, agents and casting directors. The burlesque format keeps the performer in the drivers seat. Additionally, it is great for the performer that enjoys creating their own work. One can be the author of their own stories, which is unique to burlesque.
I did not know I was a director or a producer or an emcee until I began doing it. And liking it. And becoming good at it (probably in that order). For me again personally, working as an emcee was a totally unforeseen direction and has shaped me as an artist. By working in a format that demands direct address to the audience as well as tons of improvisation, I was able to confront and discard fears I had as an actor in profound ways. I was able to embrace failure and play in my work — something absolutely essential to me creating anything worth looking at/listening to on stage.
When I became involved in burlesque I came to be surrounded by a group of women who did not define themselves by what they were not, or in direct comparison to others. I found myself in rooms of women where the conversation did not automatically devolve into the standard rhetoric of self-deprecation. What a relief! And more of a relief because it was not a political group taking a stance. It was organic — we just had so much more to talk about.
I am so grateful to the group of artists and wild people that have I come to know through burlesque. My experience has almost always been that of a supportive family, which is a rare gift.
“My goal is not just to complain, but to suggest some potential solutions to these issues and to open up a constructive line of dialogue…”
I love that the best of neo-burlesque presents a vision of female sexuality that lands distinctly outside of the white hetero-normative male gaze. It is so powerful and liberating to see women of all stripes expressing their sexuality in a fun and funny ways. I was always aware of this, even in the earliest days of the neo-burlesque movement, that it was such a relief for everyone (and that included the white hetero normative males!) to be able to explore their sexuality outside that narrow definition of what we are all supposed to find attractive.
I am also very glad that the neo-burlesque world has expanded to include not only men, but also the gender queer community. The inclusiveness of burlesque helps to side-step a sticky wicket within the form: why do women need to show their empowerment via nudity and sexuality? Does everything, including your power, need to be strained through the prism female objectification? Couldn’t it be argued that this is an Uncle Tom feminism?
Even as a fan and purveyor of burlesque I can only answer that question partially to my satisfaction, but I do think certain things within the burlesque “scene” go a long way toward a response. The first, is having men and gender queer performers. This opens up the discussion the sexuality and nudity as human expression general, not “female” this or that. Additionally, the brilliant tradition of having legend’s night at the Burlesque Hall of Fame creates a visual thesis of The Best of Burlesque: Because it shows the ultimate taboo: aging women, expressing themselves in a robust and unapologetic way. Stripping, stripped of its codifiers, such as youth and “beauty” leaves the audience to look at what burlesque is at its best, baring oneself unapologetically to the world — a true reveal.
Of course it should also be FUN. Burlesque is a confection and its sweet fluffy quality deflates under too much inspection. Burlesque then or now, did not begin as a political movement and all of its messages are best when they play as subtext, like a wink and a smile.
Then again, there are also so many things I hate about neo-burlesque. Barefoot burlesque, burletiquette, tedious full nudity that reveals your anus and inner labia. But I would like to focus here on some issues that are not merely pet peeves, but issues that I consider serious threats to the future of the form. My goal is not just to complain, but to suggest some potential solutions to these issues and to open up a constructive line of dialogue. I believe that my dedication to this art form over the last 15 plus years earns me the right to speak publicly and critically about matters which I consider to be important.
#1
Tigger! leads a class at BurlyCon, and is one of the many excellent instructors who offer workshops each year. 'Hobbyists' and professionals alike come together each year to learn, share knowledge, socialise and debate. (©POC Photo)
I believe that neo-burlesque is and should be an art form. It may be “low art”, but at its best it is able to make the banal sublime. It has the capacity to create joy in people, an experience essential to our human condition. The only way to preserve neo-burlesque as an art form is to create high professional standards within the genre.
There are two different arms of the current neo-burlesque world. One is the hobbyists, what I call Stitch n’ Bitch burlesque performers. They are huge fans of the genre and they got involved because they wanted to explore their sexuality, their body issues, or their love of retro clothing. They wanted to find a community of like-minded, fun, supportive party people. Then there are the career professionals. They may come from a background in theatre or dance. Most of them pursue burlesque as their full-time career or in addition to their other artistic work.
Both of these arms of the burlesque community are totally valid and extremely valuable. The problem is that they are often indistinct, or worse, the Stitch n’ Bitch performers are under the impression that they are members of the professional group. Its easy to see why this happens. These two groups are constantly existing side by side and on a seemingly equal plane. The burlesque world is a friendly and accessible place with a very D.I.Y. vibe. Additionally, as a “low art” it looks deceptively easy to do: Why, any liberated, cute gal who is willing to take off her clothes in public can do it right? In a word, no.
When I first starting doing burlesque in the ’90′s peoples response was always intrigue and interest. Now when I tell people I am a burlesque performer they say, “Oh.” “Oh”, meaning I saw one bad show and I know all I need to know about burlesque.
Take the time to become skilled and educated about the genre of neo-burlesque. I have heard burlesque schools faulted for the influx of new burlesque performers today, as if burlesque schools are creating an endless race of mutant strippers. I do not believe this to be true. The schools are responding to an interest in the genre and giving people information and techniques that they would not have if they just jumped into burlesque on their own.
Perhaps, however, the schools could put in place more structured levels from which people graduate, so they are gently discouraged from immediately entering the burlesque circuit if they are not prepared to do so. Maybe there could be some encouragement for people with different levels of interest to join different groups: there could be a group of Burly pals who could perform for each other and discuss body positive stuff. And more perhaps importantly we could form a Burlesque Guild where the professionals were given the services and protections that are afforded in some other unions.
By the way, the problem of not knowing when you are Stitch n’ Bitch definitely extends to world of teaching. Please tell me you have been working professionally for at lest 5 years before you attempt to teach something to others. And if you are teaching striptease or any form of dance, dear god, please have had some dance training yourself. If you don’t, really, what are you thinking? Are you trying to make money? Go into real estate or better yet work at a strip club. It will be much more lucrative!
“The only way to preserve neo-burlesque as an art form is to create high professional standards within the genre…”
Part of the root of the problem with neo-burlesque seems to be issues around money. Burlesque is not a get rich scheme. My belief is that as artists we have chosen to value something above money: ideals like Beauty, Transformation, and Communication with the world. We seek to have Collective Experiences with our fellow humans which resonate and give us a larger understanding of why we are here. Therefore, your first priority should be the pursuit of these ideals. You value your ideals enough to present and be presented in works of quality, works that perhaps require some financial commitment.
What you must understand is that if you do a bad show it is wrecking it for everyone, including the people you probably idolize. What do I mean when I say a bad show? Well, for starters, an emcee is not the icing on the cake of the show, its the eggs. Three performers each stripping three times is not a show. It is crap. Do you really want to be a present that the audience opens for a third time? If you cannot afford an emcee or more than three performers then, quite simply, you cannot afford to present a show.
Additionally, how it could possibly make sense to start merchandising oneself before one has a real act is beyond me. The post-Madonna world tells you that all you need is self-confidence and a little pr savvy and everything is possible. This logic says talent is smallest part of the equation for success. But think about it: you are standing alone on stage taking off your clothes. Have the self-respect to have taken a dance class and be prepared. Then and only then should you consider making a t-shirt.
On the other hand, some of the very best performers of this genre in the world will do a show for $5.00 and half a warm beer. When some random newbie stands alongside the best of us in a show it gives her and everyone like her the impression that all they need to do is “put themselves out there” and they will get gigs and make money. And they will be right. Because this is what continues to happen. And the producers (usually performers themselves) hire lesser performers because they can get them for cheaper. And the professionals want to take any gig they can because they “need the money”, yet in doing so they lower their market value.
It is terribly shortsighted to be the best thing in a show. Maybe its cute for your ego, but it does nothing for you in the end. Strive and work towards being in well produced, well constructed theatre where you are one delicious ingredient in a fantastic stew. It is hindering and possibly killing the longevity of the form for shows to contain the greatest and the most amateurish acts on the same bill. You should value yourself enough to get paid what you are worth or acknowledge with clarity that you are a novice and that your rate of pay should be less.
The problem with less than stellar work extends beyond burlesque novices. These days some highly visible burlesque performers, people who make some or most their living doing this, still cannot be bothered to put much effort into burlesque. They under-rehearse, or don’t rehearse at all, spend too much time or none focusing on their costumes, and/or create work that is insider-ish and self-referencing. Their burlesque is completely about themselves. You hear so many people backstage proclaiming themselves and their sisters to be geniuses that you would think it was a meeting of the Mensa society. A community that is supportive is one thing, one that is coddling is another. Meanwhile, take a look beyond the curtain. Your audience are slumped in their seats, rolling their eyes. They are bored. Why not take that extra leap and try to be exceptional. Burlesque is not curing cancer, but it can be transformational and transporting if done right.
#2
Miss Astrid announces Indigo Blue as the Reigning Queen of Burlesque, 2011. (©Don Spiro)
When the Miss Exotic World Pageant began on the goat farm of Helendale, California it was clear what it was. It was a reunion for old strippers and the people that loved them. It was a Mecca to a quirky oasis in the desert where bikers, hookers, and Bettie Page girls from L.A. hung out under the hot sun. The Miss Exotic World pageant was a publicity stunt to entice people to the desert, as Dixie has said. It was all heart and pure camp.
The move to Las Vegas in 2006 created a lot of amazing changes for Exotic World. With Vegas came slick production values, a huge attendance, and the presence of burlesque on the International Stage. These are all huge advancements in the public awareness of burlesque. Yet one of the side effects of this shift from Helendale to Vegas is that it changed the tone of the event. Suddenly, Miss Exotic World, both the event and the title were sucked of their irony. This was, for a growing number, a real pageant with huge stakes. The people who are now involved, despite their better natures, fall quickly into the trap of un-ironic competition. I have seen tears and back biting, self-loathing and self-recrimination.
What the fuck does this have to do with burlesque? Neo-burlesque is for strong feminist women. Women who support and celebrate other women. A true pageant, an old remnant from a pre-feminist era, has no business being at the heart of our community. It is wildly self-destructive and the antithesis of everything the burlesque community stands for.
Besides which, at the center of Exotic World is a museum which needs public funding to succeed. Who is likely to take us and our art form seriously when something as antiquated as a beauty pageant is at the center of our largest function of the year? The pageant is a blight in the center of BHOF, since the realization of a museum could be our highest achievement as a genre.
My solution is to make the Burlesque Hall of Fame an actual Burlesque Hall of Fame. In the place of the pageant there would be individuals or groups that would be inducted by a board made up of all the previous Exotic World winners, as nominated by their peers. The awards would then be based not upon one performance one night, but based on a body of work. An induction into the Hall of Fame would then feel like a win not just for the individual, but for the entire genre of burlesque. I am so grateful to be a part of BHOF and to host its main event, but I would be more proud if it was something that made all the participants feel good. This change could provide something that would give everyone involved in the art form something big and beautiful to aspire towards.
“Neo-burlesque is for strong feminist women. Women who support and celebrate other women. A true pageant, an old remnant from a pre-feminist era, has no business being at the heart of our community…”
The reason why everyone was so happy this year when Miss Indigo Blue won the Miss Exotic World title was not because of her lovely performance that night, but because she deserved it: deserved the accolades and attention and respect for all of her years in service to this art form.
There is no reason why this change would prevent any of the other lovely and sparkly things that happen during the BHOF weekend to cease to exist. We could still have Legends Night. We could still have evenings of electrifying performances from both fresh faces and seasoned favorites. We would just remove the part that is out of date and an impediment to the progress of our form both from an internal and an external perspective.
The secret problem with this otherwise completely inspired plan, is that we have to find a way for this version BHOF 2.0 to be financially viable. Will people donate to the museum if their donation is not taken in the form of a MEW application fee? Will people travel and perform at MEW if there is not the carrot of winning a trophy at the end? I truly hope so, but it is our job as a community to present alternatives to the board of BHOF and create our future together.
One solution might be offering BHOF scholarships to shining new members of the community. Or work opportunities to the inductees. If there was a pledge from the major schools and troupes nationally or even internationally to book the inductees for tour and teaching gigs on their induction year, maybe this could prove a good incentive to continued attendance and financial support of BHOF. I realize I am placing a lot of work at the feet of the schools of burlesque but with great power comes great responsibility, as they say in Spiderman comics.
There are many ways of being involved in burlesque. Let the very last one be performing on stage for money. See shows, Take a class, write about burlesque, perform in workshops for your friends. There is only one good reason to be working professionally as a burlesque artist: because you have talent and ability to entertain an audience and a deep desire to do that.“
Kate Valentine.
Please feel free to leave a response or comment in the section below…
Tags: BHoF, Burlesque Hall of Fame, BurlyCon, Miss Astrid
Comments (79)
[...] it, right? Well, you’ve heard it if you’re involved in burlesque in any way. That State of the Union Address of Miss Astrid’s sparked a lot of conversations. Too much if you ask me, and it seems like [...]
[...] really take the cake. There’s been a lot of debate in the burlesque community recently about “professionals” vs. “hobbyists,” and even though I promised myself that I wasn’t going to get into an in-depth discussion [...]
[...] her State of the Union Address at BurlyCon in 2011, and the two speeches she gave were compiled and published on 21CB in November. A number of people returned from BurlyCon in October and contacted us to say how moved [...]
Well, I wrote a long comment and just deleted it, realizing, that the people who need to read what we have to say the most, will probably not be reading this at all.
They are too busy gluing together an act for this months theme show, in which everyone simply acts out the words to a song.
The historical observer in me thinks we’re gonna see a dip in public interest over the next 2 years, and it will weed out a lot of people. I’m not ashamed to say that it might include me, when I hit my 7th year burlesque anniversary.
I am choosing to be aware of when I may hit my plateau and can’t push myself any further in burlesque, and I will bow out gracefully; because I refuse to add to the amount of crap out there.
To Clarify: 3 burlesque dancers each doing 3 numbers in a show does not make for a good night of theatre. This is because it reinforces the redundancies in the form. A burlesque striptease usually tells a story in under 5 minutes in which the punch line is a reveal of flesh. If you have done one number, then a second, and then a third it is a bit like a present being opened for a third time. No matter how great you are, the audience knows your punch line. Your impact dwindles. While the pleasure of burlesque number is usually the journey not the destination, it is not doing yourself as a performer, the audience of the genre of burlesque any favors to construct a show in this way. If you are making shows like this I believe it is either because you are trying to make as much money as you can at the expense of your audience or you have misunderstood this to be the standard way shows are presented. We can make better shows than this! Variety shows with variety! I love my fellow performers, but I also care very much about the audience and the genre as a whole.
By the way, I am a woman — not in any position of power — presenting my critical opinions, possible solutions, and calling for dialogue. I have stated my opinions publicly because I was asked to and because I care. This has absolutely nothing to do with patriarchy. Via wiki: “Patriarchy is a social system in which the role of the male as the primary authority figure is central to social organization, and where fathers hold authority over women, children, and property. It implies the institutions of male rule and privilege, and entails female subordination.”
[...] of the Union" address given by Miss Astrid, which have been widely distributed by our sistah over at 21st Century Burlesque. We are so bummed to have missed it. AND the panel discussion, “Sex Work and Burlesque.” Read [...]
(continued) Regarding the comment in this speech about burlesque dancers performing with no MC is like being ‘a present unwrapped in front of an audience for the third time’. Does anyone think this comment comes across as mean-spirited, and going out of one’s way to be a put-down? Elsewhere in the speech it notes: burlesque has an inherent ‘beauty and an ability to transform and communicate’, but then, ‘without an MC it’s nothing, just a pretty package, that gets repetitive after the first time’? Ouch!
Having an MC is a choice when producing one kind of show, but it may not be everyone’s choice because there are many kinds of shows and so many kinds of events that to start making templates is perhaps not the best use of time. I like to think of shows as a case-by-case scenario. Each situation is unique, or at least, it makes it more fun to think of it that way.
You say MC’s are the eggs. Some people are vegan and want to work with jazz musicians or indie bands instead of MC’s. The band leader makes a great host. Different style of show.
The speech also states that one needs at least 3 or more performers per show plus an MC ($$wise that means approximately between 250 and 1000 dollars) or else they have no business putting on a show. I feel that what is in other people’s wallets or on the drafting boards, is none of anyone else’s business.
I’ve seen two burlesque performers entertain audiences of up to 200 people or more, regularly. They danced, played music and told jokes. I’ve seen one dancer and a DJ do a great job of entertaining guests at memorable events. I’ve seen a go go dancer (dynamic ones) and a VJ who can seamlessly thread an evening of entertainment together just fine.
I feel personally that it’s the job of the ‘pros’ to demonstrate graciously how they can reinvent, adapt, be flexible, etc within an ever changing movement, not their job to force newbies to conform to pre-existing conventions.
Also, I would be more careful when you call your peer’s (or people in the audience) work “crap”, sounds disrespectful and crass.
After reading this, I felt that there are a few areas where this person is over-stepping boundaries. Being asked to speak as a guest of honor does not mean it’s an opportunity to (as Scotty said) to “appropriate the patriarchy”. The title “State of the Union”, comes off as a bit obnoxious and gratuitous. Then after realizing people didn’t necessarily like it, she comments, writing off her own title as “random” and “just a joke”. “Did I say ‘state of the union’? I just mean “lets talk about our winkies”. Really, it’s a bit reckless, especially after a speech that hammers down point after point, about taking oneself seriously and the importance of professionalism.
Raising the bar in professionalism and having standards for high quality goes without saying in any art or industry. So in that sense, these topics are not “controversial”. It’s the leaps in logic within that speech that sound controversial and not in a good way.
There’s been something sticking in my side about BHoF for a long time, and I really feel like you hit the nail on the head here, Kate.
I have been in the business almost ten years. I have had some dance training, but I never feel like it’s enough. That said, I really do feel like I am on that very thin line of professional and hobbyist. I still keep a day job, but most of my life and extra cash is spent planning shows, costumes, numbers, writing scripts, writing articles, or planning for the next burlesque club meeting. I feel that I contribute a lot to my community, It is my hope, that my contributions mean that there will be less and less shows where there is one or two acts that made it worth the cost of admission.
There is that back biting and competativeness that sits in the dark corner of every community, I agree. I think that this suggestion of making the hall of fame about more than one performance gives me chills and a huge sense of pride. I think that it would instill a need to contribute to the community rather than spend all of your time looking at you and how you can win that next crown.
I think that competition is important, I do, it makes us strive to take it to the next level, but I believe that the hall of fame should hold its people to a different standard because it feels as though it has lost its focus. The focus that should be on the legends, the community, and the amazing people who have made the genre what it is today.
Thank you so much for your words, Kate. They were incredibly inspirational!
I think we would gain a lot to look at out sisters in the bellydance community. They probably have twice as many festivals, events, and gatherings a year as the bq community. They are predominately a community of hobbyist, and that does not mean there aren’t many brilliant dancers.
Where they differ from us is their primary focus is on technique as opposed to performance. There are hours of technique building and rehearsal involved before getting on stage.
I think respect for training is where the obstacles to burlesque becoming a viable part of the entertainment industry lie. Too many out of balance shows. Maybe it should be always be low art. If so then we’re all only going to do it till we can’t afford to anymore.
whoa bad editing
but this link is what I was talking about in reference to ppl thinking pageant ladies are unintelligent
http://www.youtube.com/watch?v=Ay7srP7lOlE
My thoughts.
My thoughts.
*I think she did it because she cares ALOT.
*It’s really long
*thought it was abit tacky to denounce newbies and hobbyists in that way at Burlycon- a place full of hobbyists and newbies; maybe that was the point.
*I think she did have some valid points
*I think valid points were lost on me at points due to tone (ever heard of a compliment sandwich? jesus…)
*I AM A WEIRDO. THERE AREN’T THAT MANY WEIRDOS IN THE WORLD. I THINK THE FIRST RULE OF BEING A WEIRDO IS TO SUPPORT OTHER WEIRDOS.
*Don’t coddle weaker performers but being constructive in your criticism is so important. Just ask them to work harder, or help them, or don’t book them and tell them why but don’t ask them to give up.
*Work hard and make sure you are not producing shit is something I definitely, definitely agree with!!
*Being open for constructive criticism= yes
*I like the idea of a professional guild or union. Something for people to aspire to and a bottom line for what pros get paid. Good luck organizing that.
*I get the concern behind the using the word pageant. Even if its not applicable to BHOF, there are general assumptions about pageants that pageant girls are judged on beauty first. Also that if you participate in them, you aren’t intelligent. This and this sort of thing kind of support that thinking. However, is this just another case of women hating other women? I was a small town pageant queen- and in my opinion it was a really great experience because the emphasis was more on how you can help your community and become a better and more well rounded person in general. I think the gown part was worth 50 points out of 1000. Could we either change the event to be called Burlesque Olympics? Still have competition and opportunity to see greatness rewarded! Maybe have categories? Classic, Performance Art, Comedy? Or just repurpose the word pageant into becoming the kind of thing we want to see. Like Indigo has been doing!!! YOU ARE DOING AN AWESOME JOB INDIGO!!! DON’T STOP!!!!!!!!
*Its good to see dialogue happening regardless.
Not everyone starts out as a hobbyist….when I was figuring out how to make a pastie I was in my 15th year as a stripper…btw someone mentioned everyone being a ‘hobbyist’ in 2003. Nope…I & more people I knew were making their living solely from BQ then than now (less saturation) But Gods know I’ve taken day jobs to make ends meet after I left the titty bars.
Brava. As a career burlesque performer, director, producer, and choreographer, I applaud just about every single word in this essay. I have similar feelings about the pageantry of today’s greater burlesque community, and also similar feelings about the art vs. the money. So, thank you for this. Maybe I should go ahead and produce that burlesque pageant parody show I’ve always wanted to do.
@Delia Darrow
Okay, here’s what I find problematic:
1. How would you define ‘know the performers’? Being aware of them as a performer, being an acquaintance, being a professional peer, being a ‘friend’ (which can also mean a number of things), seeing them perform once or twice? etc.
2. Is it realistic that a judge who has the necessary knowledge and experience will not have heard of or come into some form of contact with some of the competitors??
3. Are you saying that the judges were swayed or chose to be swayed by prior contact or relationship, be that personal or professional? Are you telling us and them that you feel they were not capable of judging on the set criteria and what they saw, regardless of prior relationships – even though Robbie has already said that none of Indigo’s close friends were judges, AND they have to declare any significant prior professional or social relationships before the pageant? Do you know any of the judges? Do you presume to know why they made their decisions and on what basis?
4. Would you like to contest the results of previous years because the judges may have ‘known’ some of the competitors? Or is it just this year’s result that didn’t come out the way you wanted?
MEW/BHOF/VEGAS
In years past it always seemed that Thursday and Sunday nights were the nights you could miss if you couldn’t do 4 nights,, but you would NEVER miss Friday or Saturday. Thursday and Sunday seemed to be for fillers or leftovers, for the performers not quite ready for Saturday. They mixed it up this year, they spread the superstars around. Looking at the lineup, there was no way I was going to miss Thursday! There was no way I was going to miss Sunday! That was smart, I thought that was great. That’s also great for the take at the bar. That should be continued.
I had to acknowledge that great move.
@Robbie from Delia Darrow
I would love to know that I am wrong, and if so would love to take back my words.
But I feel it’s very valid to challenge the MEW/BHOF producers to have judges who do not know the performers (with as many people as there are whispering these opinions).
On a positive note ,,, I’ve seen the event only improve and get better every year. 2011 was the best year yet, it went very smoothly and felt very organized (despite all that PLAZA drama). It was switched up this year, and I love how Michelle Frankie produced Sunday night. Every night was great !!! It was such an exciting weekend with so many incredible performers from all over the world, it floors me that people make it from New Zealand, Australia, and Japan ( more). I personally want the event to be THE ONE,, THE TOP OF THE PYRAMID,, THE MECCA OF BURLESQUE EVENTS. To me that’s what it’s always been, and I want that to continue! Because I love this event so much,,, it kills me to hear the words favoritism nepotism as much as I have since June. That’s why I brought this up,,, it’s the one obstacle between it and perfection.
I’m challenging the producers to pick judges who do not know the performers.
Or have another title to win,,,
BURLESQUE HALL OF FAME GOODWILL EMBASSADOR.
Delia Darrow
@ Dame CuchiFrita
“My favorite saying that I learned in fucking art school : ” YOU CAN FOOL THE AUDIENCE BUT YOU CAN NOT FOOL THE PLAYERS”.”
Yeah but if the players don’t say anything about it, what’s the difference?
I’ve lost count of the number of times I’ve had conversations with performers about [performer X] who just wasn’t that good and really, she means well, but let’s be honest she doesn’t do much on the stage. It’s fine to say that over a coffee but don’t think of broadcasting that or, worse, saying that to [performer X] herself.
And would it matter given the wave of praise she gets on Facebook whenever she performs?
There should be standards and if the schools and academies aren’t going to help establish them, then maybe it’s time to stop thinking of them as higher education and more like kindergarten: everyone graduates, which is cool, but it only marks the first step of a lot of work.
@Delia Darrow
“That is what happened in June” in your opinion. You can’t state that as fact. I really take exception to that accusation. And I think you do the judges a great disservice. They were chosen for a reason, they don’t all have a close personal relationship with Indigo. In fact I don’t think any of them did. So get your facts straight.
I think it was extremely hard to judge this year. A number of people I spoke to agreed that noone really seemed to completely walk away with it and have that extra something on the night (that Roxi glowed with when she came out for her farewell performance). So I respect the judges even more for deciding on it in a short, pressured amount of time. That said, Indigo’s performance was polished and her long experience showed through, when some of the new, more untested acts submitted lacked something (such is the risk you take when competing with a new act).
And I should add that “many many people” were also thrilled and uplifted by the outcome. I’m tired of this unsporting, graceless grumbling by a minority.
Sorry to go a little off topic but it really irritates me when people presume to know better and state assumptions as fact.
The Miss Exotic World event is still a competition because of the jury process . Each performer must be juried into the 4 night event . I’m happy for this,,, I’m spending alot of money to fly myself across the country, get a hotel etc ( as most of us are ), for this event . I’m spending that money happily,,, I want to see the best of the best performers, I’m trusting the producers to present me with the best of the best performers,,, I love it ! I’ve seen my share of bad burlesque, and I don’t want to see anymore. My point is that competition must remain part of it , and it’s a competition before the event begins,,,
As for the Saturday night competition,, this should remain a competition also. The Miss Exotic World title should go to the most exciting/dynamic/best performer of the evening . What a downer it would be for us to know that the title won’t go the evenings best performer, it will go to a less exciting performer who is very devoted to the BHOF museum & organization. That’s what happened in June 2011, MANY MANY people feel this way. Please let us trust that the best, most exciting performer will win Saturday night . If not,,,we’re all less excited about it, less excited to spend our money to get ourselves there ( IT’S JUST A BIG DOWNER ). After this June (2011), I feel the judges should not be people who would be friends with the performers. May the words favoritism or nepotism never be used when talking about Miss Exotic World, Burlesque Hall Of Fame .
Still looking forward to June 2012, hope it won’t be a let down.
Delia Darrow
This is an amazing insightful state of the union address. I’ve seen a town taken over by amateur nights that pass themselves off as shows. I’ve also seen the perform for each other syndrom in shows, instead of entertaining your audience (imagine that?!). Some people still seek to bring the vintage genre to life, not participate in cat fighting childish girl against girl behavior. I was disheartened by that, but still desired to continue producing. I have written about this article on my blog because it struck me so. I live in Vegas now and look forward to getting involved in the Burlesque Hall of Fame soon. It seems’pay to perform’ has taken over burlesque in the form of competitions and pageants, a lot like rock n’ roll. But, as a previous performer I never could bring myself to pay to perform.
Bad art is easy, great art is hard but GREAT BAD ART is truly a gift that is rare and hard to come by. Burlesque is truly about making the bad so great . Its about achieving a level of understanding on what it means to fuck with an established concept. An artist has to go through some process to achieve that great badness. For that to happen to the newbies its called accidental LUCK.
Think about it …in the 90′s all those great bad acts did not come out of nowhere…it was a reaction towards the established genres. That is why it was honest.
So lets move on two decades later and see what we can do to move the artform forward. The basis is still the old fashioned respect, humility and dedication to the craft, once you understand it then you can fuck with it all you want.
My favorite saying that I learned in fucking art school : ” YOU CAN FOOL THE AUDIENCE BUT YOU CAN NOT FOOL THE PLAYERS”.
So choose your path, stick to it. If you want to fool the audience you better do it damn well and make lots of money while you are at it.
First of all I would like to thank Kate for bringing up this dialogue. And I would like to thank everyone for participating. It’s wonderful to be part of a community that actually wants to debate and discuss and improve.
I am a professional vocalist and vocal instructor, as well as a burlesque artist. I grew up doing both piano and voice competitively, and am no stranger to putting in thousands of hours into my crafts.
I have been performing since I was very, very small, but I have been doing burlesque for just under three years now. I consider myself “newish” to burlesque. I strive to learn and educate myself and be educated by the incredible talent that surrounds me in Vancouver. We are fortunate here to have two fabulous schools of burlesque and places to take lessons- Screaming Chicken Theatrical Society and The Vancouver Burlesque Centre.
Hm. How to say what I want to say!
I feel that competition is a positive thing. When I see someone kick ass in a competition I think “That’s so fabulous that they are kicking so much ass. I would like to kick that much ass too!”. I don’t think “I f*cking hate that b*tch for kicking ass! That should have been me!”. I find competition inspiring, but I don’t place a be all end all importance on the end result. I mean, isn’t going to the BHoF mostly about well, going and being a part of it? Not a sparkly tiara? Don’t get me wrong, rhinestones are f*cking great, but anyone who gets invited to perform in that show has an invisible tiara on their heads that they may not know about.
I think that since this is an inclusive, DIY community, not all of us have had experience with competition, and competition is stressful. It can bring out the worst in people who are focused solely on the title and tiara as opposed to the fact that “Hey. I was invited to share the stage with legends. Huzzah!”
I don’t know enough about the way the BHoF is run to comment on how it should be run, but it would be cool to see more involvement from the winners in the doings of the museum. Again, that is my uneducated thought, but hey, there you go.
Now- the whole professional versus “stich n bitch” thing…
I feel that some people have taken this as a “good versus bad” kinda argument, even though Kate clearly stated “Both of these arms of the burlesque community are totally valid and extremely valuable”.
It’s not about good versus bad, in my opinion. It’s about honesty.
Did you just form a new troupe? Are you marketing yourself as “The hottest new troupe to hit the scene”? Maybe that’s not the most honest thing you could say.
Are you producing a show for the first time? Have you called it “The best show since…”? Maybe not so good of an idea.
Is the lineup in your show a mix mash of professionals and amateurs? How about alluding to the fact that there will be variety in the show?
Does it drive me nuts that I struggle to charge $15 admission for a show of 12 people (including a full jazz band) that rehearse twice a week together, and then I see people charging the same amount (and maybe just barely getting paid) for a show of people who do burlesque when they please, and not as part of their career? Yep. It does. I’m not going to lie. But do I think those shows shouldn’t happen? Not at all. I think all of these kinds of shows are necessary to our art form. Some of the worst performers I have enjoyed watching because well, sometimes things are so bad they are awesome. Would I hire them…no.
Does it hurt burlesque? Hm. Yes? Kinda?
Here’s my reasoning on that- if someone were to say to me “I saw a burlesque show once, I didn’t like it, it was bad, I don’t like burlesque” I would probably just laugh. If someone picked up a cd of random music and said “this is bad. I hate music!” I would have the same reaction. It’s not my responsibility to make the audience use their brains, short of what I can do to them while I’m on stage. If they are the kind of people to make those sorts of statements, well, then they don’t come to my show and I’m cool with that. I’m not going to win every battle, and that’s one battle I can’t be bothered with. So it hurts in that the kind of people who make blanket statements and snap judgements based on one experience won’t want to come out to another show… but that doesn’t hurt me.
There is a lot of bad music out there. LOTS. Does it make people hate music more? I don’t think so. I think audiences and the public are just starting to get used to the idea of burlesque as a thing to stay, so they are in the growing stages just as much as we are.
I would be interested in the idea of schools of burlesque having grades. Kinda. Touchy subject. Maybe giving out certificates for completing certain tasks? Kinda like being in girl guides or scouts? Intern with a Mentor task! Volunteer in a show task! Volunteer as part of your local festival (or nearby) task! Help organize a show for a Legend task! I think goals are good. They keep us striving. But not everyone is going to do it, because not everyone cares as much as “we” do, right? I mean, I wish all my piano students would practice an hour a day, and I wish that people would stop using an acoustic guitar to try to pick up chicks and express how sad they are, but hey, wishful thinking.
Pardon my unorganized thoughts. It’s a laaaarge can of worms to digest. But… if the unprofessional performers make my job harder… bring it. I’m ready. There aren’t enough jobs to go around, and that’s a fact. The true talents won’t be left behind. Our artform is growing and evolving, and it will be clear who is professional and who is not. We just must be patient while our audience learns. And in the meantime, keep kicking major ass and keep communicating about how to kick more ass!
Those are my thoughts for now. I’m sure I’ll have more sometime soon. Yay thinking.
I wish so much I had been able to be at Burlycon to hear this… I will say that I was truly excited, honored and giddy to perform this year at BHOF, however I was just as much relieved to not be in the debut competition. I don’t like what competitions do to people (myself included). I support BHOF being a weekend showcasing fantastic performers and leaving the “crowning” to people who are inducted into the Hall of Fame for a career’s worth of hard work and talent. That’s how it works in sports, right?
@ The Lady Aye
Exactly. The reaction is “How dare YOU tell me what I am” when it really should be self-started: “Hey, I’m a beginner at this!”
@ Madame E
Agreed. Approaching burlesque without a sense of what has come before is kind of reckless. I felt I had a bit of leeway when I went in as there wasn’t much known about boylesque, but I did what I could to read up during and after.
And another question about some of these schools: How many of them fail their students? How many have standards to live up to before they tell their students they can perform?
Just a thought.
Neo-burlesque is definitely an art form, and one that seems to gain respect more and more each year. I agree that people in this marvelous world must maintain high professional standards in order to preserve this art form. I also believe that burlesque schools are invaluable to the new generation of performers, but I worry about how many new “schools” are popping up, and what gives the teachers the authority to show the way to the newbies. Anyone can put a sign outside their door and call themselves a burlesque “teacher.” Are they teaching the history of burlesque as well as technique? Like Satan’s Angel says, “do their students know the origin of the term, ‘g-string’?” And yes, please, have some dance training under your belt! That goes for performers as well as teachers.
I have seen too many performers stand stock-still, do a skit, and take off their clothes, without adding one dance step to the mix. Please! When I started out, in 1970, we had to be able to dance before we could strip. And we were professionals — no day jobs for us. Not a lot of women were willing to take their clothes off on stage for a living, so we worked hard. Every night.
Over the years, I studies various forms of dance to improve my performance — from bellydance to hip hop — and I’m happy for the experience.
Rehearsal is so damned important. I want my hip to shake at the moment the drummer hits his high hat, or my bra to drop right in time with the music. I am performing the music for my audience, and that won’t happen if I don’t know my music and I don’t rehearse.
I don’t agree with doing away with the pageant aspect of BHOF. I believe the awards are based on each performer’s body of work for that year. The pettiness and backbiting would continue, I’m afraid, given human nature, whether there was a competition or not. But I have been backstage at BHOF also, when love and sisterhood prevailed. I do believe that past winners should form a board to support the Hall of Fame.
Other weekends do not hand out prizes for the “best of” but that’s part of what makes BHOF unique and exciting.
So I agree with Miss Astrid on many levels, but find fault with other points she has made. I do want to thank you, Miss Astrid, for opening up this lively and inspiring dialogue.
Now I’m going to go rehearse my 60-year-old body for next week’s show.
@Chris Blakeley:
I don’t see any evidence to support the idea that there will be any sort of league enforcement. I would, however, like to see the bar set a little higher. Not as a blockade, but as a basic minimum of expectation.
The audience is not your therapist, you shouldn’t get a medal just for showing up. That’s not the same as you shouldn’t even get a shot at it or you can’t get better. It is, however, a more grown-up approach than you’re all winners all the time.
@ Lady Aye:
“I don’t understand WHY people are so anti-standards? DIY or not, we only get better at things when someone’s honest with us.”
See Bella B’s response for a perfect example of why not.
When we talk standards, there’s this assumption that it’s going to be coming from an external source (a licensing board) and that it is a label that is going to stick with you _forever_, announced in Christopher Lee’s stentorian voice: “Thou’rt a HOBBYIST!!!!!” and a crack of thunder.
The truth is these standards need to be descriptive, not prescriptive. They need to be carried as lightly as a first year student in college being called a freshman. Or go back to the minor league baseball example: You’re playing a Class A (lower level) game, which is impressive to make it that far. You want to get up to Class AA or the Majors? You’ve got to bust your ass and you can make it. Hell, it’s easier here because you don’t have rank upon rank of coaches and agents circling like vultures to trade you if you fall below expectations.
And no matter where your talents lie, no matter what skills you brought along, be sure to have fun! Bring your A-game, regardless of how it compares to Dita Von Teese or Indigo Blue or Tempest Storm, and have a blast!
@ Tempest:
“History seriously does matter.”
Absolutely. I don’t think anyone reading this would argue the point or say that the time has come to disregard all that has come before in favor of something else. That would be like chucking out Shakespeare because he’s old and we don’t talk like that anymore anyway.
But that doesn’t mean that there’s only history and emulation thereof. There needs to be evolution and analysis to figure out what comes next. Otherwise the art (any art!) becomes stagnant. Shakespeare was great but to limit ourselves to his work would mean denying everything that came after. How dull. How stifling.
A month or two ago I shot a performer who did a fan dance with fans made of shredded trash bags. The change in material made for a change in the way it behaved which made for some really interesting new moves to compensate for all that. I love a good fan dance but damn me if I wasn’t fascinated by what she did on the stage.
Here is my personal interpretation on the professional vs hobbyist : I believe behind every great art lies an enormous amount of dedication and HUMILITY in learning the craft. Pure and simple. Bad art or good art, or whether its art at all, is a matter of intention. I personally regard performance as a service rather than a selfish act to boost the ego.
I don’t have any issues on whatever terms that is used whether its hobbyist or profession, good art comes from everywhere : from the pros, the newbies, the experienced and the less seasoned…if the intent exposes truth and sincerety.
So why are we all getting our panties in a twist when it is our duty to ask ourselves everytime we get on that stage whether producing or performing …Am I giving something worthy for the audience to enjoy ???
I ask this question EVERY single time I am about to perform…like everyone else I have good days and many more bad days. On those bad days I have a feelings of regret for not giving the audience what they deserved and subject them to something less than Fierce . You have the options of giving them 5 mins they will never forget or taking 5 mins away that they will never get back. That is a HUGE responsibilty . Burlesque is no different. so think about that before you put yourself on stage next time.