Culturally appropriate?



It is entirely fascinating to me that people seem to think racism is dead or an antiquated notion. This assertion is usually made by people who, while being affected by it on a daily basis, are rarely ever on the recieving end. I was recently made aware of a fellow burlesque performer's support of a drag performer who wears blackface. I have been aware of this particular drag queen's act for quite some time and the brouhaha that usually follows her. Most disheartening to me was not the existence of this performer, but my fellow burlesque performer's assertion that this gross caricature is not blackface and is one born of "love and wit". I am also disheartened by the pictures of this performer with and the endorsements of other black people as if their misguided stamp of approval validates her depiction. There is a long history of performers of color performing blackface. These performers, as in the case of Williams and Walker, were often either deliberately subversive or if not, undertook it a means to put bread on the table. This doesn't make minstrelry in all its forms any less racist. It just adds the complexities of our history.

While I'm sure this performer is a good person and most likely sweet as pie, it doesn't make her act any less racist. My previous response to this performer's act and the rise of blackface depictions that "don't mean any harm" was the decision to develop my own blackface act responding to what I felt was a hearty pendulum swing in the wrong direction. You see, I hold onto the wildly naive hope that racism is born of a marriage of ignorance and fear. I hold this hope because it would mean that racism is taught and if it can be taught, it can be unlearned. I desperately need that hope. It makes some things bearable, for the time being,keeping my disappointment and anger at bay. This hope leads me to believe if my voice is heard, it can change things and bring us to deeper connections and greater understanding across this manufactured divide.

I need that hope.

As a southern raised black woman, I am all too familiar with the racist dysfunction of the South. It is of this dysfunction that this performer's act is born. It is this dysfunction that allows her to think her painting her face brown, assuming a bastardized ebonics and depicting black women as welfare queens with countless, untameable, illegitmate children is loving. After all, we ALL know someone like this, don't we? Oh,those silly, sassy black ladies! It is this dysfunction that enables a well known Black drag performer to endorse this act and deem anyone who finds it humorless as idiots. It is this dysfunction that allows a quiet,poisonous validation of white supremacy. This dysfunction enables white liberals living in Northern states to point fingers at their Southern brothers while ignoring their own issues with racism.

While as a performer, I wholeheartedly believe in depicting your "truth", I fear that this particular performer's "truth" is being accepted as THE truth. We assume that the audience will immediately recognize it as satire instead of the reinforcement of a racist iconography and stereotype. It would be one thing if this performer's truth didn't validate a legacy of racism that can be found in our entertainment today. Blackface contributed to the formation of the entertainment industry in this country. An industry with a legacy of ripping off performers to the point where many of them don't own the rights to their work today or often aren't credited with originating the work at all. They have no control over their image and no control in whether or not it is included in the current iconography. It is not lost on me that minstrelsy is widely considered the "first distinctly American theatre form" or that we soon took it to stages in other countries. It would seem perfecting and exporting racism is as all-american as censorship is anti-american.

While I'm against censoring this performer in her "truth", I will actively and repeatedly question any system or person who aligns with this----"Why is this okay?" As a burlesque performer, I've witnessed all sorts of cultural appropriation by performers I admire. Cultural appropriation that's allowed because neo-burlesque has been predominately lily-white with the presence of women of color in a tokenized context. I think we've just gotten to the point where you can count the women of color in neo-burlesque and run out of fingers and toes. It is much easier to play at fantasy when your fantasies are never called into question. It's also easier to continue at appropriation when you're taught you're entitled to it. I find it ironic that we've been up in arms about blatant theft and plagarism in our community when cultural appropriation is part of our burlesque legacy and continues today. If this particular drag performer's act is "a reflection of our times" then we are once again slow travelers on the road to evolving.

I am often asked by other performers why there aren't more women of color in this scene. While I don't deign to speak for women of color everywhere, I will say that, personally, I am aware of the inadvertent role you end up playing when you're "the only one". You become an ambassador and it is assumed that your views and means of expression are representative. It is a role you play daily and whether or not you've intentionally assumed the mantle of responsibility. It is a frustrating and tiring position to be in. I am not interested in or obligated to educating you. I owe you nothing and most definitely not a pat on the back for confronting your prejudice and racism.

You are responsible for your own enlightenment.

I decided to perform burlesque to provide an alternative to the iconography and legacy being constructed. This is something that has drawn women of all colors, shapes and sizes to burlesque. The ability to create new mythology, a mythology encompassing and celebrating the ideals and people that the current omits. I refuse to merely look at our past with rose tinted glasses , especially when the present has ample proof that we have not learned from our missteps. I find most performers' knowledge of the contribution of performers of color to this artform and American theatre in general is limited to Josephine Baker and a handful of others. It is this ignorance that allows a form of blackface to take root and be deemed something other than what it is. This is not acceptable.

Get yourselves an education.

*edited to add*
You can find other responses by burlesquers of color here and here

Labels: , , ,

posted by -h* @ 8:05 AM, ,  


Peep Show: A quick minute with Alotta Boutte



I met Alotta in 2005 when she flew in to perform in the New York Burlesque Festival. Since then, she's become one of my favorite people. As one of the founding members of Harlem Shake Burlesque, the nations's first African-American neo-burlesque troupe, she's a large order of triple threat with a side of "have mercy!"
Tangerine Jones: How'd you get the name "Alotta Boutte"? Was it because of all that....((coughs), personality?
Alotta Boutte: (laughs) Boutté is actually a family name... my mother's maiden name. I was trying to find something that was a word play on body parts since I'm what one would call well endowed. My mother's maiden name popped in my head while I was running through potential names. I ran it by some friends and it stuck.

Tangerine Jones: Let's talk about your "endowments", shall we? You're one of a handful of thick girls in burlesque (present company included) What are the advantages/disadvantages of having extra wiggle in your shimmy? How do people react to you?
AB: Advantages. Instant cleave and I look better in a corset than most. For a thick girl, I have a killer hourglass, especially when amplified by a corset. This next one could be seen as both, but since I'm a big girl/black girl combo, expectations are either low or different. (They're)low because I'm big and they don't expect me to be able to move well. Different because I'm black and they expect me to dance to different more modern hip-hop/pop or to resort to the booty bounce music video dancin'
TJ: I'm glad you brought that up.

AB: People are usually pleasantly surprised and blown away. I've gotten very wondeful responses

TJ:You're a founding member of the first African-American neo-burlesque troupe, Harlem Shake Burlesque. 10 years into the Neo Burlesque movement, diversity is still a bit elusive. Why do you think that is?

AB: From what I can tell, at least out here, it seems to be a predominantly white thing. Burlesque shows aren't necessarily being held in places where the majority is in favor of the brown folk. SF is diverse and I do see all colors in the audience, but brown is the minorty in the audience and in the shows. Harlem Shake, when in full force, was very specific about putting on shows in areas where the population was predominately brown. The response from those shows are people stating that they didn't even know this was going on or that we were in once upon a time.I think, like I did when i joined, that was we have a lot of history lost in this country. Folks weren't documented or they retired and put in boxes instead of sharing it because of the social climate.There are some beautiful brown folks on the walls of MEW museum and folks don't know their names. And for those of us who are trying to state our claim to being in the present scene, there just aren't enough of us able, to bring it to our people regularly, to let our people know there are other ways of being sexy and beautiful. It looks like a catch 22. Those of us who find out about burlesque go to where we can find it and many end up tokens in other groups,but that doesn't bring back to our people and they still don't know.

TJ:So what do you think your responsibility is as a burlesquer of color?
AB:To be present, to stand up and our claim our spots in this scene. It's also not enough to just be there, have lots of us and suck. Make people take notice that were are here and deserve it just as much as anyone else. Since I've started, I've never been hired as a novelty because of my color or size, and if I have been, I'm always asked back based on merit. I've been hired as a variety because I can tap dance (15 years under my belt), I can sing (which i do professionally as well), and I can perform with the best of them. Part of our responsibility being present to is to shine.

TJ: What originally drew you to burlesque as an artform?
AB: Gypsy, the musical.
Singing in the Rain. I'm a musical junky and these two were my first introdction into Burlesque. Singing in the Rain presented the variety show aspect in a music montage with Gene Kelly. Gypsy presented the tease...not once do you see Natalie Wood in pasties. Simone De La Ghetto brings a classic feel to the performance that feels like it's classic for *us*- a touch of Cotton Club for today. When Simone asked me to join Harlem Shake, I wasn't entirely sure what I was getting into. I only really knew Gypsy and Singing and hoped that I could do other things to distract from my body. I wasn't so body secure then. As I found out more, I discovered many of my favorite legendary people performed in the burlesque circuit and our history in it was fascinating to me. My goal became to add more of the Juke Joint/Beale Street Cafe. Hot,sweaty, but always a lady-like feel to it.

TJ: If you could share a stage with a legend, past or present, who would it be?
AB: Toni Elling and Lottie the Body! I had the pleasure of meeting them at the last EW. Magnificent ladies! Mae West,cause i think it would be a hoot. I would love to pick Gypsy's brain and hear Zorita tell her story. She was an outspoken queer in a time where it wasn't nearly as tolerated. There are many upcoming folks and a few legends I've already had the privilege of sharing a stage with. Amazing performers all.

TJ: If you were an ice cream flavor, you'd be.....?
AB:Cookies and cream

TJ: Tell us your favorite dirty joke
AB: I've forgotten them all. I'm going to have to go get a book. Can't be slackin' on the dirty jokes.

TJ: You recently got a spot as an understudy in Beach Blanket Babylon, which has been described as pop culture on acid. What's it like being in Babylon?
AB: Surreal. For one, I don't know any woman or queen that didn't want to run around in a Glinda the Good dress. I get to do it at least twice a week while singing Proud Mary. The show changes as fast as the headlines do.

TJ: Are you going to Exotic World this year?
AB:Sadly, I'm not. Shameless plug allowed? I'll be participating as a cyclist in AIDS LifeCycle 6 this year. It's a 545 mile ride from San Francisco to Los Angeles June 3rd - 9th, raising money for the SF AIDS Foundation and LA's Gay, Lesbian Center. For anyone who'd like more information or to help me reach my goal donation total, go to http://www.aidslifecycle.org/4359
Peep Show is a peek into the world of burlesque and the underground art and music scenes.

Labels: , , ,

posted by -h* @ 3:45 PM, ,  


It's just Dandy


I sweat the glamtastic performance art parade gender mashup that is Unisex Salon. It's lovelyful.If the producing/party promoting excellence of Earl Dax and James Coppola isn't enough to draw your fabulousness out into the cold, the promise of the collective delicousness of Darlinda Just Darlinda, Glenn Marla and LaJohn Joseph should light a fire under your sparkle. You want the recipe for a spectacular evening? Starshine at Rififi first, then hopping over to Unisex at the Delancey = glitterlovehangover. Do it. You know you want to.

posted by -h* @ 12:11 PM, ,  


Peep Show: a quick minute with Creamy Stevens


Creamy Stevens is half of the dynamic duo that produces Starshine Burlesque, a weekly variety show featuring the finest in burlesque with dashes of old school comedic madness. Creamy stands in the balance of kitsch and macabre...she's like American Bandstand with teeth. I caught up with her arsenic and apple pie cuteness for a quick chat. Proceed at your own pleasure.

Tangerine Jones: How do you spell Burlesque?
Creamy Stevens: L-i-t-t-l-e-B-r-o-o-k-l-y-to the n. She does it from burning need and pure joy

TJ: Speaking of Little Brooklyn, how does it feel to be the Lucy and Ethel of Burlesque? Although you guys perform solo at your shows, you're very much a team. How did that come about and what keeps you together?
CS: It came up because we both wound up go-going in the window at RiFiFi before we ran Starshine. We evolved as producers together because we had a very similar vision of what we wanted a show to be. We stay together because there is no freaking way I could do something like this without her. She's got boundless energy, creativity and talent and knows how to apply those things to the show's benefit. I just try to keep up with her!

TJ: If you were a shade of lipstick, what would we call you?
CS: Medium Rare

TJ: Fill in the blank: I am a______________ with ________________ and____________________
CS: I am a lucky freakshow with amazing friends and a fantastically cute and patient life partner

TJ: As a female producer, do you think your gender has any bearing on what kind of burlesque show you put together?
CS: That's tough...I guess..yes, in that we try to be as diverse as possible in who we book...and well....we generally try to limit the penises to one per show. *Wink!*

TJ: Okay, let's do some word association... Creamy?
CS: Bizarre
TJ: Super
CS: girl
TJ: Exotic World
CS: brilliance
TJ: Heroes
CS: villains
TJ: Starshine
CS: Home!

TJ: Which Neo-Burlesquers would you most want to be stuck in an elevator with?
CS: Ooh! Good one! How many can i have?
TJ: Only six
CS: ok...Jo Boobs, Bambi, Tigger, Dirty Martini, Alotta Boutte and Pinkie Special

TJ: What do you consider your super special skill?
CS: Well, sort of a 50-50 thing...I'm good at seeing the humor in things and I'm good at getting along with lots of different personalities.

TJ: What's the funniest thing you ever saw?
CS: Ooh, that is hard. Well...i think something is truly funny if you can watch it over and over again and you laugh every single time...and I'd have to say that for me, that's "Raising Arizona", the Coen brothers movie.

TJ: If you had a choice between the ability to speak to chimps or monkey like agility and grace with a constant craving for bananas, which would you choose?
CS: Holy crap! I hate monkeys with the fire of a thousand suns, so i'd choose agility and grace. The only way i'd choose talking to monkeys would be if i could tell them they suck.

Editor's Note: You can catch Starshine Burlesque every Thursday night at 10ish at Rififi. Wanna smell like a long running weekly show? Cop a bottle of Starshine by Lizzie Sweet.
Peep Show is an interview series with the brightest and best of burlesque and the underground art and music scene.

Labels: , ,

posted by -h* @ 12:55 PM, ,  




In Vogue?



This fluffy brown girl can't help but notice that Jennifer Hudson graces this month's cover of Vogue. This fluffy brown girl also notices that they photoshopped the poor girl skinny. Can we say "WHAT THE F**K?", boys and girls? I knew you could.

As much as I love fashion, I have to admit I stopped turning the pages of Vogue after the rag made Oprah lose weight before they put her ultra famous black ass on the cover. She was already a size 8/10. Never mind the fact that in the entire history of the publication, only a minute number of brown faces have graced the cover.

This is not progress.

Then again, neither is expecting Vogue to change its spots. Will someone start a fashion magazine that celebrates diverse and varied beauty AND shows me fabulous clothing I can afford without selling one of my kidneys? Thanks.

Labels: , ,

posted by -h* @ 2:09 PM, ,  



The Weekend in Burlesque (NYC)




FRIDAY
Pinchbottom Burlesque presents "You Only Pinch Twice"

Thirsty Girl Productions presents Filthy Gorgeous

First Friday Burlesque presents Strong Women

The Hot Box at the Slipper Room

SATURDAY

Mr. Choade's Upstairs Downstairs at the Slipper Room

SUNDAY
Sweet and Nasty Burlesque at Rififi

Labels: , ,

posted by -h* @ 12:11 PM, ,